#mostly i just love philosophical differences between characters

[somer-writes]

What's your favorite trope? Like ever. If every story you read/wrote for the rest of your life had to contain this one trope, what would it be?

oh man oh man oh man

i almost said enemies to lovers but really, it has to be crisis of faith

nothing tickles me more than a character having their entire reasoning for doing anything or moral compass laid at their feet. maybe their deity doesnt exist, maybe it does. maybe there is no reason for mercy and cruelty, maybe those things are entirely out of their control. and what becomes the point of anything if they start to believe that their life was never theirs to command??

i love this trope bc it breaks down what makes someone them. like at the end of the line, on deaths doorstep, if they leave anything behind what would it be?

it gives characters a new motivation. sometimes it makes them better, sometimes it makes them worse. i love when no matter good or evil it causes some kind of ascension in them.

even more when it effects a greater world! dead gods are still gods. why are they still being worshipped if theyre gone? why not worship them if theyre alive? how does an atheist align their viewpoint with a world that hinges on deities like a lot of fantasy worlds or how does a theist grapple with this being all there is?

sweet sweet angst in a good old fashioned existential crisis but so much oomph in a character finding out theres no point and making their own instead or perhaps a character choosing their own path to a predetermined destination

[specialagentartemis]

ykw i am having so much fan watching you be a hater, that i’ve decided to ask for more. PLEASE give us a rant about a book you hated.

Haha aw I'm honored. And uh I hope you don't have any particular attachment to Becky Chambers. Sorry in advance.

But A Psalm for the Wild-Built won a Hugo and I do not get the love. Book 1 was nice enough, yeah. Book 2 had me tearing my hair out.

Sibling Dex is a restless Tea Monk who serves the God of Small comforts on the science-fantasy planet of Panga. I genuinely love the idea of a tea monk - part therapist, part confessor, travels around to the different towns, mixes tea blends for people, lets them talk about their worries and fears and stresses, and gives them, if not advice, then sympathy and a listening ear and some calming tea. This is meaningful work but they're unhappy. After doing this for a while they're still unsatisfied with their life, so they go into the woods searching for self-actualization, and meet a robot named Mosscap, a wild robot that lives in the woods. See, hundreds of years ago, all the robots "woke up" and became sentient one day, then they staged a quiet rebellion against humanity's greed and industrialization by walking into the woods and never coming back. Now, the continent is split in half: humans stay on the Human Side, and robots stay on the Robot Side. The Robot Side is kept wild and humans are discouraged from going in there because humans can't be trusted not to ruin Nature. The rpbots are welcome to come to the Human Side, they just never have. Dex is the first person in a While to venture into the woods of the Robot Side, and the first human since the great walkout to see a robot. Mosscap gives Dex a lot of philosophical pep talks about not pushing themself so hard, about allowing themself to just rest and appreciate the world without feeling like they need to be Providing A Service to justify their existence. It's a nice theme. Underbaked, imo, but nice. Relateable.

Book 2 was a goddamn mess.

Book 1 mostly takes place in the wilderness of the woods, so it's okay if the nice utopian human community Dex comes from was sketchily-built. It Just Works, and everyone Is Just Nice, this is a science-fantasy parable. There were some issues I had with it - like the strict ideological and physical divide between Nature and Humans, and the fact that Dex's religion seems to be the Only Religion In The World, and it's vaguely secular-humanist with the gods being not "really" gods but names given to primordial forces and philosophical concepts, and the religion not really making any demands of its adherents in any way except to become their best selves and devote themselves to what they like... it's potentially interesting, but overall kinda lazy. It felt like Becky Chambers was aware of the idea that having an enlightened-atheist sci-fi utopia is Problematic, so she made there be a central religion, but she also didn't want it to have any of the ~icky~ things religions have, like belief in anything supernatural, or dietary restrictions, or creeds, or codes of behavior, or expectations to make any kind of sacrifice in any way. All the gods "ask" is that humans observe and appreciate the world. But whatever.

In book 2, Dex and Mosscap return to Dex's society, and the book seems to want to explain how the world works, and oh my GOD is Chambers not prepared to do this.

"Observe and appreciate" is all anyone is asked to do. Book 2, A Prayer for the Crown-Shy, is an ode to ultimate virtue of Doing Nothing. There's this attitude I see in a LOT of utopian fiction, where the author is bluntly just not a good enough author to imagine a utopian society where people act like people, so in the world of Panga, utopian society is achieved through 1) homogeneity 2) no one giving a crap about anything.

As far as I can tell, there is the one religion. Most people are Fine with this. Most people are Fine with anything. There are no characters with distinct personalities. There's no money, except there is, except it's not real money and no one will deny you anything if your balance is in the red, even though your balance is available to be seen by anyone - this does not cause any kind of shame or pride or competition in any way, and Dex doesn't understand why it might. There are no hierarchies or governing bodies, people just volunteer to step up when things need doing (this is portrayed as great and not deeply concerning). There are different communities, but in them, everyone is uniformly nice, friendly, and helpful at all times. There are some parts of nature, like the seashore, where people are not allowed to go because they'll ruin the environment, and this is accepted as correct and necessary. Most people live in hippie, pro-recycling, high-tech, end-of-history green communities; there's one group they visit, however, that doesn't trust technology, and lives in a vaguely sci-fi-Amish way. You might think, Dex travelling around with a robot, this might cause conflict! It does not. The people from this community calmly explain their anti-technology position, Dex calmly explains their pro-technology position, and they politely respect each other. "Not bothered either way" is a phrase that turns up in various permutations a lot and is held up as the good, mature, responsible way to be.

There's a scene where they catch a fish for dinner, and instead of killing it, the scifi-Amish guy says "We let the air do that for us, and they let the fish slowly suffocate to death in the air while they all look on solemnly and sadly. This is portrayed as a deep, beautiful moment of them witnessing and honoring the final moments of a living being's life. And not. y'know. them torturing a living being to death so they can keep their own hands clean.

This is what I mean about the valorization of passivity: observing is all you are ever obligated to do. Letting a fish die in the air is better than killing it quickly and humanely, because doing things gets your hands dirty, while letting things simply happen is the Correct way to do it.

At the end, Mosscap and Dex blow off all their promises and appointments and just hang out at the beach chilling out instead, because do what you want forever, you don't have to do shit. This is the happy affirming ending. Mosscap you fucking said you'd meet with the city leaders as the robot ambassador to the humans, did you tell them you were blowing off this commitment because you didn't feel like doing that anymore??? Did you even let them know??????

It is SUCH a baffling book. The theme wants to be "you are more than your job, you deserve to just Be" and ends up feeling like "you don't have to do anything ever, and no one can make you do anything you don't want to do if you don't feel like it, and you don't owe anyone anything and searching for a purpose in your life is just making you stressed out so chill at the beach instead."

The thing that drives me crazy is like. Mosscap cheerfully tells Dex about robots that spend twenty years in a cave watching stalactites form because they think it's beautiful, and those robots are just as much a valued part of society as anyone else. Appreciating beauty and wonder is good enough, you don't need to be productive. And I'm just. fuckin. like. Humans are not robots! Robots don't need to eat or sleep! Humans need food, and clothes, and shelter, and medical care, and if we don't have SOMEONE working to provide that, we Die! Nice as it would be, we CAN'T just all do nothing forever until we feel like it! We can't do that!

And at the same time, the book bizarrely treats wanting a purpose in life as like... almost disordered. If you are seeking a purpose in life it's because you just haven't let go of your guilt and relaxed enough. It's bizarre. Valorization of passivity. Humans aren't meant to be in nature so we just Shouldn't. Doing nothing and having no strong opinions is the most self-affirmed you can possibly be. Letting a fish suffocate is more moral than quickly breaking its neck or spiking its brain. Someone else will do it. Who, if we're all supposed to be resting and only doing what we feel like? Don't worry about it.

"The heart of this book is comfort [...] There is nothing in it that can hurt you." YOU LIAR BECKY CHAMBERS THE FISH SCENE STILL DISTURBS AND UPSETS ME TO THIS DAY

[thethiefandtheairbender]

as a lifelong ATLA fan who narrowly had ATLA dethroned as my top show by The Dragon Prince steadily over the past 5 years, the similarities between the two have very little to do with the surface level parallels that get regularly drawn between them.

Like ATLA, TDP has Books for seasons and chapters for episodes, but unlike ATLA, which only touched on storytelling sparingly as a theme, TDP is obsessed with interrogating storytelling and history and the presence of unreliable, biased narrators throughout many of its episodes (most notably 2x05, 2x06, 3x06, 4x04, and 4x07 among them). Half of what you learn in the 1x01 intro ends up being a lie once you reach S3, with more being steadily deciphered.

Yes, TDP has different magics with people living under those umbrella terms... for the elves. Humans are coming culturally at things from a completely different angle, and the elves' connection to their primal sources are discussed philosophically in detail, informing their practices and their culture first hand, including the way they chafe against humans, who are arcanum-less. Many animals in the world are also connected to magic, which influences both their design and which ones get hunted for humans' more 'clever' solution in dark magic, including each other.

The core issue of the Puppetmaster, down to being a coercive magic formed by someone deeply resentful of their imprisonment? Said puppetmaster is the main endgame antagonist of the entire show with all of S4 onwards being exploring the ethics of controlling people against their will in various methods, and the entire show itself being a thematic battleground of fate (imprisonment) vs free will for virtually every single character.

Where ATLA mostly concerns itself timeline wise with ending the war, very little thought is shown by any of the characters as to what they'll do after the war. This isn't a problem (as it reflects the sheer domineering scope of the conflict) but even Zuko being firelord is only ever really addressed with 2.5 episodes left till the finale. TDP, meanwhile, ends its 'war' in s3 and s4 opens up with dealing with the old wounds festering between people with centuries of history, the struggles that come when people aren't able to let go and believe they're safe or mourn in a healthy manner, and the religious/cultural clashes that may occur when trying to integrate different groups of people.

TDP also has an evil father with a devoted daughter and a brother who eventually defects, but it explores the reality of an abusive parent who loves/will sacrifice for you and your right to leave regardless, even if that means leaving the sibling you truly deeply love and who loves you in turn. Which means that when you and your sibling are on opposite sides of a deep ideological conflict, it actually really fucking hurts bc we've seen first hand just how much they love each other and also how and why everything fell apart not in spite of that love necessarily, but also because of it.

Is this to say that TDP is a 1:1 with ATLA or that it's better? No, not at all, and the latter is subjective. I prefer TDP, but I think they're about on equal ground when you look at each show currently as a whole (although TDP has two seasons left to go).

But TDP takes a lot of what ATLA was doing thematically with some of its most interesting beats and then builds or expands upon them further. It talks further and more consistently about the cycles of violence; in many ways, Jack De Sena's character, Callum, begins the series largely where Sokka had ended (and he's not the most like Sokka anyway; very much his own thing); we get Faustian bargains and centuries' long grief and fucked up people who are trying both succeeding and failing at not doing fucked up things. There are antagonists, but it is very hard to actually label anyone at this point a straight up villain. Moral greyness is where the show starts, and it just continues from there.

That's not to say the show is nothing but dark and depressing - like ATLA, there's a steady thread of hope and humour even as the show gets steadily closer and closer to its 11th hour point - but the show is usually emotionally heavier. There's more blood and potentially disturbing imagery with body horror and on screen death. There's so much foreshadowing you basically can't go more than 5 minutes into any episode without having something that's going to come back around or be referenced again like 3-5 seasons later.

Just to be clear - TDP is like ATLA, but it's like ATLA in interesting ways beyond the more shallow surface level that usually gets attributed to it, while still very much being its own show and its own thing. And that is why I tend to recommend it to people who like ATLA.

Thank you and goodnight

(Also, the fandom doesn't have any ship wars, and the show is queer as fuck)

[ravelqueen]

One thing that is actually super interesting - character wise is how stark the difference between Angel and Angelus is when compared to Spike and be-souled Spike.

Angelus and Angel might as well be two completely different people - the way they act, react and conceptualise the world around them is honestly completely opposite.

Meanwhile, besouled Spike is a lot more aware of his past actions and isn't interested in killing humans for sport etc, but in the way he interacts with the world around him, he's actually still very similar - he's snarky and sarcastic, romantic yet cynical etc.

It's extra funny when you consider that probably this was never supposed to be a Deep Philosophical Ponderance Of The Nature Of A Soul

In my opinion this came out of happenstance: a writing choice forced on the Buffy team, based on when in the narrative it happened.

Angelus was always set up to be this enormous threat, this absolute monster tormenting Buffy, while Angel was supposed to be this fairytale first romance of a wonderful older boyfriend - the dichotomy was probably decided upon before /in season 1.

Spike on the other hand was never planned to get a soul - he wasn't even supposed to stick around longer than the 2nd season! However, the ensoulment made sense with the progression of the story/character if the writers wanted to adhere to the rules of the universe they set up namely:

Vampires are Evil Demons, inhabiting the body of the human before them, and most importantly they are irredeemable and incapable of true human affection. This is extremely important lore in that universe, because Buffy kills a lot of vampires - in the later seasons they aren't even really a major threat and more background ash. If you suddenly introduce the idea that Actually vampires can be fully redeemed, your main characters has been just murdering Possibly Good People willy-nilly for several seasons

Unfortunately, at this point in the narrative, Spike might as well have been ensouled already - he was acting altruistically, out of love (self-reported) and was mostly just helping our heroes, with motivations unrelated to villainous impulses

So really the writers had to give him a motivation to go and get his soul (the writing choices on how he gets there Being Bad notwithstanding).

HOWEVER, they really really couldn't pull the same move with Spike that they did with Angel re: his 180 degree personality switch simply because the audience liked non-soul Spike. They enjoyed the personality and character that had been crafted for the last 5 seasons, so changing him too much would have with almost complete certainty been met with negative reactions .

Which is why I assume they decided to simply soften parts of his personality, make him stop wanting to kill humans and called it a day on his other less-than-cuddly personality traits.

Which leads us to question on why two people in the same circumstances turned out so wildly different ESPECIALLY since William seemed Basically Alright when he's human.

Does that mean that Angel is fundamentally a worse person, only held back by the morality of his soul? Or that he was fundamentally a much more virtuous man and therefore the loss of his goodness had a larger impact, as removing those parts took away more of what he used to be?

That William was a lot more acerbic and mean deep down and therefore not too different? Or that actually William lost way less of his morality/capacity for empathy when he turned because Something and that led him to doing less awful things that would lead to a personality change??

Those are such interesting questions that somehow the show never addresses (as far as I know? comics people?) aside from Angel Being Mad that Spike got over his angst so quickly and it's just hilarious to me that if I'm right this basically was never meant to be that deep and simply just a byproduct of What The Fuck To Do With Spike

[mayapapaya33]

The fun part about Gabriel and Beelzebub is that they can be together and happy because they are still fundamentally selfish and so only really care about themselves and now, because of character growth, each other. Whereas Crowley and Aziraphale care about each other AND the world and so are torn apart by their morals and their philosophical difference in how to deal with the problems facing them. (By fun I mean I want to strangle someone).

Aziraphale has learned, mostly through watching Crowley over the centuries ironically, that morality is not black and white and that you need to actually put the work in to make things right, not just assume that a greater power will take care of everything for you. He's developed a sense of civic duty. His heart is in the right place, Unfortunately he's still deeply indoctrinated by Heaven's supposed goodness and superiority despite all evidence to the contrary. He can't see that it isn't just a few bad apples, but rather an institutional problem. He doesn't understand why going back to heaven would be painful for Crowley, why being offered "full angelic status" is such a slap in the face. He just doesn't get it. He says "you're the bad guys" without even blinking but he loves Crowley and thinks he's a good person.

He thinks he's offering a reward, something Crowley deserves for being good, when all this time Crowley has been trying to explain that they are the same. He isn't an angel anymore and he never will be again, not because he couldn't, but because he would never want to. Aziraphale's double think is too strong. Until he breaks through his own mental barriers of HEAVEN = GOOD. He will never understand Crowley's feelings. Because in his mind heaven can never truly be wrong. Except for all the things heaven has been demonstrably wrong about. But that was probably just Gabriel or Michael making bad choices, and he can fix that. Crowley's fall, was is justified or a mistake? Heaven doesn't make mistakes (except for when it does) but that was GOD not just heaven and GOD definitely doesn't make mistakes right? Well, let's not think about that, let's just fix it! Crowley is clearly good, and heaven is good (except for when it isn't) and angels are good (except for when they aren't) so let's make Crowley an angel again! Perfect, what could be wrong with that?! So on and so forth.

Crowley on the other hand, has learned that the difference between Heaven and Hell is aesthetic and that working within the system got him nowhere fast, except doing a million light year free style dive into a pit of sulfur. (I know he's an unreliable narrator and he probably did more than just ask questions, but come on, what does that mean? Seriously, did he stage a really annoying protest in heaven's lobby or something? I can't really see him doing anything TOO nefarious lol. This IS the guy who goes around gluing coins to the sidewalk and taking down the cell phone service, not exactly a monster here, I feel pretty safe in assuming that with anything he did, his punishment did not fit the crime). He works outside the system, to great success.

Which is why at the end of Season 1 he said that he thought it would come down to him and Aziraphale and Earth together AGAINST Heaven and Hell. People always seem to forget that because of Crowley's much flashier (and romantic seeming) panic response of running away. He literally only says that whenever Aziraphale blindsides him and is falling back into Heaven's rhetoric. If Aziraphale was firmly by his side, he wouldn't want to run, he likes Earth and wants to save it. HE was the one who had to convince Aziraphale to try to stop the apocalypse after all! He only started talking about running away when Aziraphale LIED to him about Adam when he was trying to be a "good angel" and Crowley thought there was nothing else they could do to stop the Apocalypse. He Loves Earth, He just Loves Aziraphale more and wants to get him away from heaven.

Same thing here in the final 15, Crowley sees Aziraphale slipping through his fingers and is desperate. Maybe, if they were working together, they COULD reform Heaven, but not while Aziraphale is still in denial about just how bad the problem is. And how much it would hurt Crowley to go back. Which is why I'm so proud of Crowley for not following him. I think Aziraphale needs to come to those realizations on his own. Only then can they come back together and try to stop the second coming and maybe even reform Heaven.

[mdhwrites]

The issue with Owl House is that it’s cliche in the most boring way. A show can be filled with overused tropes yet still be entertaining yet the Owl House just…isn’t.

This is why I can’t rewatch the show because it’s just not exciting enough to do so.

So I'm mostly going to focus on the rewatch value of the show here rather than the trope elements, I feel like I covered that only a couple blogs ago. For why it's a bad rewatch though: I've said before that TOH is REALLY good at introducing elements and TERRIBLE at follow through. Amity was presented with a lot of great potential in just two episodes because of how clear it was that her current relationship with success was toxic but that you also didn't necessarily want to see her fail in her goals. Then she becomes just a love interest who entirely forgets her goals and has pretty much everything we had introduced in the first two episodes she appeared in swept under the tacky rug named Odalia. Literally two of the first 5 episodes... Wasted. Almost entirely pointless because you could jump in at Lost in Language and her character reads WAY more consistent... But less compelling. She wants to be good at school but it isn't consuming her mind, even at that point despite Luz not really having discussed that part of her at all. She's much closer to a normal, driven girl rather than one demented by the need to succeed. That is frankly just less interesting, at least without ANY explanation as to why besides 'girl crush'. It's akin to how by Escaping Expulsion, she's let her grades slip and only seems to care because her parents are saying she's not allowed to have friends because of it. Or, more importantly, Luz.

That's the thing: Most of the character arcs and elements in TOH don't build on one another. Instead, you start with this really well built house that could use a few additions but it's quite serviceable as is... And then each episode takes a sledgehammer to it. Even the world counts for this. An interesting dystopia fueled by greed where being normal is prioritized over being good? Where everyone is looking for a dime and would threaten to kill you for their own gain because they know they'll get away with it so long as they do it in a normal manner? That's FASCINATING. And that is explicitly the Isles we get for about three episodes.

But then with Covention, it shrinks. Suddenly people are just a little suspicious of Eda but you start realizing that she does run a market stall in the middle of town. That without posters, people practically don't care about her bounty. Cheating is seen as unacceptable rather than what should be the norm with the lack of morals on the Isles. All while it hasn't actually examined the world it implied early on besides honestly a pretty normal con artist and the fact the school was willing to kill an intruder.

Just think about any element really. The EC/Lilith? Presented as really cool and something that could genuinely be a philosophical debate against Eda. Then their second episode is Once Upon a Swap, where they end with their leader as a dog and can't control a witch who has pretty much no control over her magic. So interesting. -_- Hunter is FAMOUS for this. The Golden Guard is an entirely different personality from Hunter himself and implies a LOT of fascinating things about him... And then they're all immediately dropped by Hunting Palisman, even small details like him being a prodigy respected in the EC. Willow is an unexpected one as her first real return is Hooty's Moving Hassle which bungled her power issues so badly, it took Sport in a Storm for the majority of the fandom to realize they were resolved in the sixth episode.

It's also why the show keeps having to add elements rather than having anything to actually expand on. Eda gets pretty much her entire character finished up by the end of S1. She could still teach Luz about potions and genuinely examine the struggle she has with the difference between little magic and no magic but... Instead she gets glyphs and a super form rather than proper character development. Then she gets a love interest that is what she focuses on for a couple episodes of the season. They even have to escalate the curse, despite it being toned down being part of the S1 climax, just because they have so little to actually do with her at this point. They've accelerated her character so quickly past all the things she supposedly cared about that they have to grasp at straws for what can be pulled back. It's why Willow and Amity take effectively an entire season to follow up on the end of Understanding Willow because at that point, they're desperate for Amity to be able to do ANYTHING that isn't just Luz. It's why she suddenly gives a shit about her father out of NOWHERE. It's why Gus has to have the same problem rehashed three times but tackled at with his only two character traits and then sudden anxiety issues that technically aren't out of character but still feel like they came out of nowhere. Because if the show isn't adding something to a character, it only has so much room to go, at least from how the writers seemed to have thought.

It's actually part of why Luz is so incredibly stagnant in S1. Her character is actually really basic and the show itself has NO INTEREST in multiple elements of it. She can be described in the first episode as a bullied girl who is an outcast from normal people with a desire to live out a fantasy instead and has a good heart. Now that first half, the bullied girl who is an outcast, is jettisoned for the sake of making Luz's transition into the Isles easier/selling the idea of the Isles as a place she/the viewer want to be in easier. She never has social anxiety or the like, or even struggles to make friends and connections, because that would get in the way of seemingly what the writers actually care about like their romance plots and her wish fulfilment. So if you don't have those elements then all you have is her desire to live out a fantasy and that she has a good heart.

And for like half the show, that pretty much doesn't change at all. It's why a lot of the episodes with her effectively come down to her making a mistake because she wants to live out an Azura book, implicitly (Teenage Abomination) or explicitly (Covention), but then her good heart makes her set things right. And that is fine for your MC. It actually worked to keep her unobtrusive from the other characters as they worked through their arcs and lessons. MCs like this work well in general honestly. I've referenced Danny Phantom and Randy Cunningham as characters who fit this archtype, who also are pretty basic as both are teenage boys who would like to be popular but also have good hearts that will cause them to do the right thing even if it humiliates them, and those shows are great! There are issues with the style, and Luz has PLENTY OF THEM, but they work for a base.

But part of her stagnancy and issues with the trope is that she never seems to learn anything. That's because of TOH's problem of only tearing a character apart... Until it replaces. Lilith isn't Lilith anymore. She's now the cool aunt. Eda was practically never criminal or anarchist. She's just Momma Eda. The Golden Guard never existed, there's only the sad but mad boy. Etc. Etc.

The old character and their history do not exist and the new one... Is usually summed up really easily. Usually just with the statement of "A generally nice person." But having excised all of that old potential also means they can't do a lot with these characters without seeming to go back on their character development. This is why we get Hunter as a new Amity so someone can do her angst a second time since they decided to race past it all. It's why we get romance added more heavily because there are still tropes they can do with that genre and even love interests they can add. Why nothing gets explored because the show was so impatient to get to the big moments it wanted, even before the shortening since that mostly didn't affect the first half of the series so stuff like Amity's rushed development was not something forced on them, that it lost out on the chance to do the actually interesting ideas they pitched in the first place. Remember how Luz and Eda were pitched at the beginning as student/mentor? Theoretically, as the two main characters? And how after Adventure in the Elements, they have two plots together where they speak for more than like a minute with each other. Stranger Tides and Titan Where Art Thou, the latter of which actually rehashes a concept from literally a season ago (Grom) because they just forgot about Luz wanting Eda's approval until then.

All of this, all of this rambling, makes it so that while I am a firm proponent for the journey meaning more than the destination... It's hard to want to go back on that journey. To constantly be like "This is the best this character will ever be," through the first half of the show, if that, and then have only a couple character climaxes to look forward to. Worse yet is that even these introductory episodes HINGE on payoffs down the line, like Understanding Willow. That potential was part of what made them good when honestly a lot of them are kind of boring without the novelty of the potential story they're setting up. Knowing there's no payoff just makes the setup INFURIATING.

It also makes it really easy to understand why so many praised it so much harder early on. It comes out of the gate swinging but its punches have no follow through so when S1 was done and everything was introduced, the potential for the show was laid bare, we got HUNDREDS of animatics. We got thousands of comics. The fandom has NEVER thrived harder.

But by even the hiatus in S2... There's a reason why a LOT of people jumped onto Clarvee like ravenous hounds. A reason why a lot of people jumped onto Huntlow when it started being teased. Kept jumping to new elements being added because the old ones were left to rot, if they weren't actively sabotaged.

And the finale for a lot of people so actively contradicted one of those early statements, one of those early novelties people pointed to for why an okay episode was better than it was, that it really feels like it fractured the fandom. A lot of people saw Luz become a chosen one, literally empowered by God with no consequences and little work, and one of those things that people praised from episode 2... Shattered.

And suddenly they realized that strong house they thought they'd lived in the entire series had so many holes in it from the sledgehammers that it all simply fell as if it were always a house of cards.

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I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[aspoonofsugar]

hey! Good day :) here to ask a question!! I was wondering about your process for analysis, character analysis, theme analysis- do you just write or are there specific things you look for? I suppose I’m curious if you have an idea/general gist of what you’re doing or steps you take to do your breakdowns. I’m trying to do something similar out of interest and your works are simply fascinating to read. I look up to your writing a lot!

hello!! Can I ask how you started analysing shows, how you went about it? I’m learning literary analysis and trying to do the same for hunter x hunter but I find it infinitely harder to analyse shows. Especially since I most notably consider diction in literary analysis lol

Hi!

Thank you for your nice words anon(s) and yay! I love meta-asks <3<3<3

So, it depends on the meta. In general, I try to focus on a specific topic, which can be:

a character (arc + foiling between characters)

a theme

the use of a specific motif, when it comes to a character or a theme

These are my three favourite kinds of analyses, but there are other types, as well. For example, some people are really into plot theories/predictions. Others prefer to focus on characters from a psychological viewpoint. Some other writers like to use philosophical lens or to compare different works. It really depends on your preference.

My preference is mostly for thematic analyses. This means that my character metas too tend to use a thematic lens. So...

WHAT IS THE THEME?

In short, the theme of a story is both:

the topic the story is exploring

the moral of the story, aka a phrase which summarizes its message

Stories explores topics through characters and plot, while the way the conflict is solved tells us the moral.

Some examples:

RWBY's main topic is humanity in both its weakness and strength and its moral is that victory is in a simple soul

Madoka's main topic is wishes and its moral is that it is worth to want things and to fight for them, even if it is painful

HXH is strange structurally, but its main topic is self-search, with its moral being that a person should not focus on the goal, but enjoy the journey

All of these messages and ideas aren't just things stated in dialogues (even if someone saying the theme helps). They emerge from the story itself.

RWBY's main conflict is about a destroyed world (remnant) surviving the anger of an evil witch (Salem). If humans let hate divide them, they lose. If they unite, they win. The main thematic question is then... can humans make the right choice? And the answer is that they can, as long as they remain simple souls (Ruby, but also Pyrrha at Beacon, Blake in Managerie, Yang in Mistral, Weiss with her family, JNR when they tag along and Penny in Atlas). The main message is that several people making the right choice leads to change. And that is humanity. This is why the characters keep being asked to give up their idealism and to embrace a more utilitarian way of doing things. And this is why every time they refuse and stick to their idealism. The conflict itself keeps testing their resolution.

Madoka's power system works through wishes, so the girls' powers and their backstories are all defined by their wishes and by how they relate to them. Madoka doesn't know what she wants. Homura's wish turns into an obsession. Mami makes a wish too early and thinks only about herself. Kyouko and Sayaka make a wish for someone else and have opposite reactions to their wishes ending poorly. Finally, it is revealed the girls' wishes are literally the force that keeps the world at balance. So, the plot, character arcs, conflict and worldbuilding are all about wishes.

HXH is made up of several arcs and each arc has its own theme. That said, the overall structure conveys the main theme. Gon's objective is to find Ging, but he keeps taking detours and getting engulfed in unrelated conflicts. However, the moment he meets Ging he realizes it is not his father who defines him, but rather it is all the people he met in his journey and his own experiences. Basically, HXH's strange structure conveys the main theme.

So, the theme (both topic and moral) should emerge by the characters, the worldbuilding, the conflict and sometimes even by the structure itself. In order to find it, one should start with the topic and ask themselves "What does the story really talk about?". The answer to this question will let you understand the theme as topic. The second step is to see how the story explores it.

DIFFERENT POINTS OF VIEW ON THE TOPIC

There are different ways a story can explore a topic. Still, the best stories have different perspectives clash with each other. Very often these different points of view are embodied by different characters.

Here are some examples, with some linked metas that explore the respective stories more in depth.

Madoka (topic= wishes):

Homura is determined to fulfill her wish no matter what

Kyubey is her opposite, as they are unable to wish since they lack feelings. This is why they need to recruit girls into creating energy through wishes

Madoka is in the middle, as she wants to wish for something, but doesn't know what

Mami, Kyouko and Sayaka all explore negative effects linked to wishes, which are connected to other secondary themes. Specifically, Mami explores the consequences of an immature wish, while Sayaka and Kyouko explore the selfishness/selflessness inherent in wishes

The conflict is solved through Madoka learning about the price of wishes, but still choosing to make a wish and to sacrifice her whole self for it. This ending conveys a specific moral: despite the pain and sacrifice that comes with them, wishes are still beautiful and worth it all. If Madoka had chosen to give up being a magical girl and had ended up the series without making a wish, the moral would have been the opposite: that a normal life is better than grandiose and dangerous dreams.

Monster (topic = the value of life)

Tenma believes that all lives are equal, which is why he chooses to save Johan as a child, despite being ordered to operate a far more influential patient.

Eva and Nina believe that not all lives are equal. In particular, Eva thinks that social status and importance in society influence the value of one's life. Nina instead believes that people who commit crime should be punished and lose their lives.

Johan believes no-life has value, including his own. In his words, the only thing all humans are equal in is death.

Here, the moral is conveyed through the Tenma/Nina vs Johan's conflict. Tenma is tested in his beliefs, but ultimately does not abandon them and ends the story by saving Johan. Nina instead is asked to change her mind, as she ends the story embracing Tenma's point of view.

RWBY - The Atlas Arc (topic = trust)

Ozpin lacks trust, as he is unable to trust others, no matter how loyal or dedicated to his cause they are

Ruby wants to "trust safely". She wants others, like Ironwood, to prove themselves to her before disclosing the truth to them

Ironwood is initially on Ruby's same page, but he spirals and comes to embody the "enemy of trust" aka control. He doesn't trust others, but wants to control them.

Oscar embodies trust, as he wants to trust Ironwood since the beginning. Even later on, he keeps on trusting people like Hazel and Emerald who are his enemies.

Cinder embodies another "enemy of trust", aka manipulation. She doesn't need to trust others to work with them, as she can use their feelings and wishes against them.

Penny embodies faith, which is a more extreme form of trust. She sacrifices herself and leaves the maiden power to Winter. She has no proof Winter will be able to save Weiss, Jaune or the relic, but she entrusts the future to her.

All these characters struggle with trust and its dangers. Some, like Ozpin, Ironwood and Cinder decide that trusting is too dangerous. Others, like Ruby, Penny and Oscar realize that to trust is the only way to move forward. Moreover, they learn there is not way to trust safely. As a matter of fact the moral of the arc is that "trust is a risk" and risks mean that things can end up badly. Still, not to take risk means to give up hope.

Hazbin Hotel - You didn't know song (topic= knowledge)

This song explores the idea of knowlege. The characters are after all in the middle of a questioning, which leads to several secrets coming out. Moreover, throughout it all the characters either admit or realize how ignorant they all are. The way they deal with this lack of knowledge establishes different thematic stances.

Charlie and Emily are both naive and ignore the darkest sides of their loved ones. Charlie doesn't know Vaggie used to be an exorcist and Emily has no idea Sera ordered the exterminations. Still, their answer to ignorance is to keep on questioning. They have no idea why only certain souls are admitted in heaven. Still, they think it is important to investigate the phenomenon and use it as evidence that there might be hope for the spirits in hell.

Lute and Adam don't know why some spirits end up in hell and others in heaven. Still, they do not bother to question it. So, Adam is caught by surprise by Charlie's question and has to improvise an answer. Not only that, but even later on the duo insist that Angel not being in Heaven proves he is unholy. And that's it.

Sera does know about the extermination, as she knows the system is unfair. Still, she refuses to question it and forbids others to do the same. She is the only one whose sin isn't ignornace, but knowledge.

There is no a clear thematic resolution to the question posed by the song. This is because the series is not over yet. However, the scene sets up the theme and the way characters will deal with it in later seasons will give us the moral.

As you can see, not only whole stories (like Madoka, or Monster) have themes, but also arcs (RWBY) and even episodes or scenes (Hazbin Hotel). That said, the way to go at it is always the same. Pintpoint the main topic and start investigate how the characters or the worldbuilding deal with it. You are gonna get several stances. The one which emeges victorious is the moral.

Let's highlight that the moral is not always embodied by the protagonist. For example, in the Madoka and RWBY's examples, Madoka and Ruby are initially at a loss and come to learn the moral by the end of the story (for Madoka) and arc (for Ruby). Similarly, Tenma initially does believe the moral, but doubts it throughout the story, only to be reminded and helped by other characters (like Nina).

In any case, the way the protagonist and characters in general relate to the main theme and to secondary themes is key for their arcs.

CHARACTERS AND THEME

When it comes to theme a character can either:

Believe the moral since the beginning

Not believe the moral since the beginning

In the first case, the character either stops believing the moral by the end (negative arc) or keeps believing the moral until the end (positive arc). In the second case, the character either learns the moral (positive arc) or doesn't learn the moral (negative arc).

In short, the story keeps challenging the character on their beliefs and they must either stick to their point of view or change it, depending if they believe in the moral since the beginning or not.

Exhibit A:

Charlie's belief that sinners can be redeemed is right. Still, in the beginning nobody else agrees with her, so she is challenged by the world around her. Her objective is not to lose faith in the Hazbin Hotel and to inspire others to change their mind too. Throughout her journey, she is bound to grow too. She starts as sheltered and naive with a simplistic idea of what redemption is. By the end, she will gain a deeper understanding of redempion and will grow as a result.

Exhibit B:

Eren's journey is about realizing what freedom (the main topic) is about. The problem is that he fixates himself on the idea that freedom means no boundaries, either natural nor humans. This leads him to embrace destruction and nihilism and to lose himself. In the end, the character who realizes what freedom truly is is Mikasa. She doesn't discard her bond with Eren, but is still able to make independent choices and to live as herself. In short, Eren doesn't learn the moral, hence why he spirals instead of growing.

Charlie is a protagonist who knows the moral and will grow with it in a positive arc. Eren is a protagonist who doesn't know the moral and never learns it. This is why he has a tragic negative arc.

These are just two examples, but there can be different combinations. By interrogating yourself on how characters relate to a theme, you get better a better understanding of their role in the story and of their overall arcs.

Still, how to find themes in a story? Luckily, each text is full of hints that are there for us to interpret them.

MOTIFS

Motifs are repetitive details within a story, which are used to communicate themes.

Anything can be a motif: a line, a musical tune, a specific imagery, an object. By repeating them in key moments throughout a narrative, they become symbols, which means they can lead to bigger metaphors and convey specific meanings.

In the song More Than Anything, dream is one of the main topics. We realize it because the characters keep mentioning it. At the same time, light keeps popping up. Lucifer summons light and throws it away, Charlie rememebrs a light show Lucifer imrpovised for her. Lucifer and Charlie start the song in the shadow and they end it in the light. This means that "light" is a motif throughout the song and by seeing how it is used we better understand the theme and the relationship between the two characters. We understand that light is a metaphor for dreams. Lucifer gives up on it, Charlie is inspired by it and eventually Lucifer summons it back as he has decided to believe in Charlie's dream. By looking at the way light is used, we can see that Charlie teaches Lucifer the moral that it is worth it to fight for dreams and not to give up on them.

In the CAA of HXH, gungi is a motif that comments both the topic of humanity and Meruem and Komugi's relationship. Their matches become a metaphor of monstrosity vs humanity, as humanity slowly conquers Meruem to the point he himself chooses to live and die as a human, rather than the King of the Ants. Similarly, Kokoriko symbolically becomes Komugi and Meruem's child, in the sense they give birth to this move and evolve the game.

Sometimes, their meaning is unique to the story. For example, gungi is a motif that makes sense within HxH and can't be brought outside of the series, as it is not a real world game. It only exists in that universe. Some other times, a motif can tie to bigger sets of symbols. For example, light and shadow are universal symbols that bring with them several additional meanings:

Good and Evil

The Jungian persona shadow

In the Hazbin Hotel song the first dychotomy doesn't fit, while the second one does. Initially both Lucifer and Charlie hide things from each other (shadow), whereas by the end they show who they are (light).

In short, to analyze a story, you should find its key motifs. They are hints to better understand the theme and the characters. Different stories will use different motifs and tie them to different wider sets of symbols. To find the right ones can help a lot in better understanding a story, as a whole.

Some examples:

RWBY uses fairy tales and alchemy as its main motif, so these two sets of symbols are the most useful to analyze the series

HxH is a shonen and uses its powers and fights to convey character arcs and themes, so to analyze one's nen abilities helps a lot

Hazbin Hotel is a musical series that takes inspiration from religion and mythology. So, it is probable that the best understanding of it will come from analyzing its songs and from looking into its religion inspiration

Of course this doesn't mean you should only use one motif to analyze a story. For example, you can use RWBY's semblances to look into the characters, as well. And there are some fairy tale allusions in Hazbin too. In the end, it is about using what best helps you understand a story as a whole.

What is more, there are general sets of symbols that can be useful in most stories, such as jungian archetypes. Finally, you might want to start from other aspects of the story itself, rather than theme or characters or plot. For example, you might be drawn to the world-building and realize it is used in a special way to explore the theme. Or you might be curious about character designs and see that they have their own symbolism (for example, I believe RWBY ones do and probably Hazbin Hotel ones, as well).

SOME PRACTICAL ADVICE

I have linked in the title of each paragraph, but this last one an article by @septembercfawkes. Her posts are great to better understand narrative structure and I found them enlightening.

I think the best thing you can do is to start with focused metas. Choose a scene, a character, a motif that intrigues you and start exploring it. It is better to start small and to narrow your focus, it would be easier to organize your article.

I usually outline the contents of the meta before starting to write it. Still, it sometimes changes as I keep writing.

It can be useful to write at the beginning of your analysis what you are gonna do. It will help you remember what the point of the meta is. For example, in my RWBY allusion meta or HxH nen meta, I always start with the motif I am analyzing. I summarize the fairy tale (even if many people know it already) and I explain what the character's ability is about. It helps organizing the flow and the contents.

The more you analyze the better you become at it, so it is just a matter of starting :)

Thank you for the asks, I hope this was helpful and not too much confusing!

Have a nice day!

[baiwu-jinji]

I think your comparisons of Ximang to Hualian/Wangxian are so interesting. When I first started reading 2ha, I felt like it was a much grimmer take svss (mostly bc I didn’t realize how big of a genre uh…”shizun-fucking” was at the time) so much that I felt like svsss and 2ha were two works in conversation with each other. Each felt like a parody of the other. Yuwu also reminded of Wangxian. Gu Mang and Wei Wuxian have many similarities. Their mischievous and laid back natures, their impressive genius, their lower-class status (although wwx doesn’t face discrimination on the scale that Gu Mang does), and obviously their eventual fall from grace. Mo Xi actually feels like a mixture of Lan Wangi and Jiang Cheng to me. He posses that cold countenance but also that terrible temper. His regret that he didn’t stay by Gu Mang’s when he was suffering but also his intense hatred at his betrayal. All this is to say, at times meatbun’s novels feel much more realistic and tragic compared to mxtx’s but they often share similar themes and it’s interesting how their two of the most popular danmei authors (at least in the western fandom). I never thought comparing Ximang to Hualian though, and it’s very interesting. Compared to Mo Xi and Lan Wangi, Hua Cheng is less concerned with certain societal and moral viewpoints, so he’s able to devote himself to Xie Lian entirely not matter what path Xie Lian walks. Obviously, the fact that they didn’t support the one they love in their time of need is something that Mo Xi and Lan Wangi both regret later on…but I think that Mo Xi and Lan Wangi’s upper class status compared to Hua Cheng’s lower class status plays a role in how they react to their beloved, for lack of a better term, going ape-shit.

Hi! :) Thank you for sharing you thoughts, and you certainly formed some interesting connections between novels and characters that I never thought of. It never occurred to me to compare 2ha with svsss because of their entirely different tones, like the former is all about shoving the depth and magnitude of the sufferings in your face while the latter is about hiding the tears and blood with irreverent humour.

As for Mo Xi, I keep thinking about him in comparison with Chu Wanning - not least because they both have a temper, and that's because they don't know how to express their emotions so every emotion comes out in the form of anger. But Chu Wanning has led a much more sheltered life than Mo Xi because of his extraordinary talent, which secured for him an untouchable position in the cultivation sect so he can just focus on his geeky inventions. Whereas Mo Xi had to fight through his family's downfall, start from the bottom, and survive the cut-throat palace intrigues etc.

The comparison between Ximang and Hualian that anon mentioned refers to this post I wrote - and I agree that with the romance side of things, meatbun's couples feel more realistic and tragic compared to mxtx’s. I think mxtx's strength is in exploring broader moral questions and philosophical themes, and she could do it in a natural, nuanced, and engaging way. Meatbun's attempts in this regard feels somewhat forced and meagre in comparison.

[jessepinwheel]

Oooh. About your parasitic extraction au? How do force sensitives live in the Mandalorian empire? Like you said conscripted, do they have a bastardization of Jedi culture? Are they enslaved? What is it like? Do canon characters live in the empire or in the Jedi Order in hiding? (I'm thinking Mace Windu, Depa Billiba, Plo Koon, and Ahsoka Tano mainly.) Also! Do other clones exist? Mainly the CCs. Wolffe, Fox and Bly lol

the mandalorian empire love having force sensitive warriors because they're extra strong and have superhuman reflexes so they do everything they can to get their hands on as many of them as they can

general practice is for young force sensitives to be 'adopted' by high-ranking mandalorian clans for training. if they're born into a less prominent mandalorian clan, maybe they can train their kid themself or they can surrender the kid. if the family is not a mandalorian family (e.g., one of the occupied worlds) they're supposed to surrender their force-sensitive child for training and this is considered an honorable thing to do. if they don't want to do that and try to get their child to the jedi order instead to save them from being conscripted for basically the rest of their life then usually their whole family gets killed and the child gets sent to a mandalorian clan as above (this happened to ahsoka and she hates the rebellion because she blames them for her family's death)

mandalorian jedi all wear collars which cannot be removed, and the collar denotes their rank. each mandalorian jedi is also assigned to a handler who is supposed to act as support and also is supposed to kill their jedi if they go off the rails (drink too much dark juice from all the murder and start killing everyone). a mandalorian's jedi armor specifically has an undefended back for this purpose. they're not *technically* enslaved because this is considered an honorable position and they get a lot of privileges but like. read between the lines here.

mandalorian jedi are basically all trained in combat and not so much in the psychic philosophical spiritual stuff because the mandalorians think that 'don't kill people' thing is for chumps and they burned down most of the jedi temple's libraries. they just don't know how to do the psychic stuff and most of the psychic stuff doesn't work very well when you don't teach them emotional regulation first. like a trial for all mandalorian jedi is that they get their kyber crystal and they're not promoted until they've killed enough people that it turns red. if that puts things into perspective.

anyways, the old jedi order is in hiding across the galaxy. they wear normal clothes and they got rid of the padawan braid because they don't want to be murdered on sight. instead of the braid, they use a set of prayer beads, which they carve and add beads to as they go through trials and visit different worlds, partially because prayer beads are really easy to dispose of in a hurry. they do have a base in dagobah though where they take care of and teach the youngest force sensitives.

re: who's who, there are a lot of canon characters on both sides. obi-wan, obviously, is one of the traditional jedi. he was mace's padawan when he got captured by jango. depa, plo koon, jocasta, yoda, and maul are all traditional jedi. obviously there are more, but those are the ones who get mentioned by name.

on the mandalorian side, we have ahsoka (whose handler is padme), anakin (whose handler was rex), qui-gon (who is dead), ventress (whose handler is isabet reau), dooku (whose handler is myles), quinlan (who is a spy trying to infiltrate the jedi order), also aayla and vokara che who kind of just briefly show up

the other clones mostly don't exist. I say mostly because when jango put in a clone order for two sons, kamino made three in case one of them didn't make it, but all three of them did make it and the third one is fox, who the kaminoans then put into the brainwashing factory to turn him into a brainwashed super soldier. and then when jango went back and asked for a new son because cody and rex disappointed him, they made three again and two made it. one of them is boba, and the other one I have named kiki. he is also put into the brainwashing factory.

which is all to say. being a jedi is rough as hell regardless of what side you're on.

ask me a question about parasitic extraction, the role reversal mandalorian empire au that I have

[beevean]

https://www.google.com/amp/s/www.comingsoon.net/tv/features/1352249-castlevania-nocturne-interview-kevin-kolde-and-adam-sam-deats-on-season-1s-ending%3famp

Good morning! Have a feast!

oh joy.

I think the Abbott is a great character, and a gray and complex character. [...] With the church, priests were being guillotined and everything else. [...] he’s reacting and doing what he must to survive and what he genuinely thinks is right, but it’s obviously so messy.

Guys, there is a difference between being complex and messy, and not making any sense. A priest who denounces the Revolution because it's "godless" but then allies himself with cruel murderous vampires with plans of making a queen vampire ascend to goddess status is not complex, he's a giant idiot.

"we we look at the French Revolution from our perspective" it was barely a footnote. Stop promoting Nocturne as this amazing fantasy story set during the French Revolution when you guys couldn't even be bothered to realize bread was nearly unaffordable and thus Tera, supposedly a common woman, couldn't offer it to guests.

One of my favorite parts of the series, honestly, is Richter having to come face-to-face with a possible future for himself is obviously a hallowing experience for him and is a big part of his character growth.

Juste is kind of a mirror for Richter because it’s where Richter may end up if he loses himself and becomes defeated.

...

....................

Juste exists solely for Richter to be like "eww no I don't wanna be like that".

Juste exists solely as a warning. Don't be too traumatized, or you'll become a nihilistic hateable fuck.

Juste. Juste Belmont. The Successor of Fate. The man who first grappled with the weight of his legacy. You killed off Maxim and Lydie without any thought just to shoehorn him into the "cynical mentor" stereotype regardless if it fit his character, instead of truly building up from the harrowing worst ending. He was included in the show to be shat on, for Richter to get over his trauma in one episode - or, to quote the article, "finally get his mojo back".

... yeah I'm just going to move on before I explode. "I love HoD" my entire ass.

"This was our chance to actually harmonize some of the things that were developed later with Harmony of Dissonance" oh you think you're so funny aren't you

an opportunity to show something that we didn’t really get to see that much in a lot of Castlevanias, which is that Juste is the first Belmont that can use magic, right?

Oh, is this why Juste is completely useless in unlocking Richter's magic, and he has to remember the woman who mocked him for not being able to use magic to have his badass moment? Huh uh. Please, you just admitted Juste's narrative role was to be pitied and looked down on as a warning to never become like him.

"[Alucard's return] was built in as we laid out what the first season was going to be. It was always there." I had no doubts.

The path of him finding himself when he’s in this totally new, different distorted form is really interesting. I think there are also some elements that speak back to Castlevania Season 3 and some of the conversations that Isaac has with his night creatures.

Season 4, actually. You're referring to Isaac's speech about how Night Creatures don't have to be tools of destructions just because they were made for that purpose. Which is not a bad scene in theory, but the problem is that Night Creatures in Nocturne are not the same as in NFCV. In the latter, they are truly mindless, except for FlysEyes because he used to be a philosopher so he's much more intelligent than the other souls (whatever, this is the canon explanation) - Isaac was, what else, mostly talking about himself allegorically. But in Nocturne, probably because they were created with a stupid DEVIL FORGING MACHINE, it's clear that the Abbot has little control over his own creatures. Like, Edouard is not particularly special in that regard, it's the Abbot that sucks lmao.

anyway I'm going to speedrun HoD, bye

[justatalkingface]

No idea if I send this one before (I think not) but here we go. I think Izu op could have worked! Controversial take, I know.

I mean...if Hori hadn't this mentality "Izu needs to suffer bc I hate him" this could be a 0 to hero story as Izu ends up having a powerful quirk. But for that to work we would need a few things

(Note how Hori seems to love the underdog trope but failing miserable)

1) time skip. Izu cant master ofa in a few weeks. On that note, the second user cant be bk 3.0

2) a writer who is interested in explored the ofa and what it can do. Like, what if Izu can have a quirk awaken? That would be cooler.

3) senseis who know what they are doing and who helped Izu not only physically but mentally. Wouldn't be swell if Izu stoped thinkig he is worthless? If bk got consequences and Izu CAN be mad at him for what bk did? Yes it would.

4) and a sense of limit. Yes, I did mentioned how op Izu can work but if he gets too op and can face all the big bad villains, if he can use ofa 100%...it would be a bit stalled in terms of writing "dont fret, super Izu is here". It would be Izu repeat AM's mistake. What I would do is make Izu, who after proper training and well used time skip earned how to use his quirk safely, has a support group. Ochako, Iida, Shoto and whatnot. Meaning is not just Super Izu alone.

Friendship wins.

But of course....Hori didn't went to this route. And the timeline is really ....a joke.

Anyway, to end. I do think the concept of op Izu could have worked if Hori had stopped his hate for Izu and focused on the mc and developed more ofa.

I... have mixed feelings about OP characters in stories, mostly because they don't do them right. The thing is, an OP character, on the scale we're talking about here, because in chapter one, All Might sets that ceiling of OP way up there? That is someone so... stupidly strong that they actually direct national policy just by their very existence; quite possibly the world changes because they exist. And I feel that, most of the time, stories either: A, ignore the implications that this person can beat up God and isn't hiding that fact, or B, makes some shallow attempts at acknowledging it, but quickly moves on from those attempts so they can fight their equally OP enemies without giving it it's due.

The point being is that introducing an OP person is something a writer should use carefully, the same way they should treat time travel, if they're not just some villain driven off by the power of love, friendship, this gun I found, and the McGuffin used to beat them.

...However, MHA is interesting to me in that it started off by doing it better than normal, with All Might. The story starts by insisting that All Might is so damn broken that Japan itself actually worked differently after he heroed for awhile, even though, as far as we can tell, he did nothing to actually try and manipulate national policy or anything like that.

He just existed, and everything changed in response.

And, while I admit I wasn't thinking that hard about it when I first read the story, the initial set up actually was in a great place to work with an OP Izuku... if almost everything after the initial setup went differently, anyways.

Let me explain.

So, early MHA, those initial chapters, just hinted at a lot of depth to it. Philosophical, legal, societal; part of the reason I, and probably others, fell in love so fast is that it was approaching the usual super hero thing from a new direction, and seeming to acknowledge the flaws in such a system the ways other stories generally don't.

Back then, it was the difference between being a Hero, the job description, and being a hero, someone who saved people, and how wildly disconnected those two terms were. The disparity between the weak and the strong, Quirklessness as something five seconds from being called a disability, a heroic system that had been slowly festering in on itself, for years and years and years, until we get people like Mt Lady, who caused god knows how much property damage just to kill steal a villain away from Kaminio Woods, who had the situation under control.

Into this toxic mess of a situation walks Izuku Midoriya: kind, smart, beaten down on for all his life for being weak, yet determined to stand up for what is right anyways, blinded by childish naivety and propaganda to how fucked up the world of heroes truly is.

And the man who changed Japan with his mere existence gave him his power, the power to stand above everyone else, to do anything he wants, because once he masters One For All, the only one able to stop Izuku? Would be himself.

And here's where it would have to change: Izuku's conflict, for most of the story, is simply about fighting; not about right or wrong, not should he do this, but can he do this? There is something he wants to earn, or a person he needs to beat, and so he tries to do it. Sometimes he does it by being smarter, more often he does it by being stronger, and sometimes, and too often for my tastes, or at least at the wrong times, he just can't.

Hori gives up on all the things that made MHA so interesting, only giving them empty lip service from that point on, so he can just do the usual shonen plot.

But imagine if he didn't. Imagine Izuku's conflicts being about idealism. He's strong, unbelievably strong, the second coming of All Might, acknowledged as such by the man himself, who may even admit that he is retiring. In a fight, Izuku wins, plain and simple; hell, he may have to worry about keeping his opponents alive rather than if he can beat them or not.

But that's not where the problems come from, beating X person in a straight up fight. The problems come from the system itself: a machine made to chew up idealistic kids and spit out cynical, money hungry heroes. An entire department in UA devoted to selling an image to the public, ruthlessly trying to take advantage of the new students while they're too new to realize what's happening. A bigoted, self-important teacher who hates him just for what he is, and is determined to ruin his career because he can. A government agency determined to control heroes and direct them to their own aims, who take an interest in this budding super star, and their pawn, merciless yet conflicted, who will kill to see their will done. A media system determined to get headlines, no matter the cost or who it may harm. A Number Two Hero ascendant, cruel and calculating, who uses his own offspring as pawns and views Izuku as a threat to his rise. Villains who, knowing they can't take him in a fair fight, try to beat Izuku in other ways, more complicated and sinister than a simple fight. Festering in his mind like a dark secret, Izuku's entire life as a Quirkless child, despised by the world for being Deku, for being useless, an old pain and shame that still defines him and shapes him, even if he's not longer Quirkless.

And with all this arrayed against him and his dreams, all Izuku has to guide him onto the proper path is his mentor, wise yet cynical and broken in his own ways, and his own innate spirit of heroism. And the choices he makes? Effects millions.

Leaning into what they said they were about, the League of Villains would not be a bunch of crazed murderers, but what Hori wants us to think of them: people beaten down by society until they felt they had no other choice but to fight back. Toga who isn't a deluded serial killer, Spinner and Compress with more development, and yes, the Dabi Benchmark of Insanity(TM) to keep them all sympathetic, because their purpose here isn't just as villains who have to be beaten... their purpose here is also about how heroes react to them.

To a LoV who is milder in what they do, so they still get heroic ire, still get labeled as, 'villains'... only for them not really to deserve that label, the hatred they get from the public, and the force used against them.

And Izuku, who is no longer a spectator but on the front line, sees that. He sees how they're getting tarred by the brush of 'villain', the way they're getting discriminated against because of their Quirks, and the eerie similarities it has to his own treatment as a QUirkless child.

And yet, the ones doing it are heroes, the ones he looks up to, and all but worshipped for his entire life, the ones supported by everything he's seen in his entire life, by the entirety of Japan.

And that is where the conflict is, that is what the story focuses on: what is right? What is a hero? What is a villain?

...

Well, that's how I would do an OP Izuku story, anyways.

[stardustdiiving]

I love hearing about queer headcanons so I'll probably end up asking about all of them, but how about starting with Sumeru?

(ask in reference to this post)

YES I can do a few sumeru characters to start (heres Wanderer, Cynonari, Collei, and Nahida)

(there’s accidently aroace headcanons in 3/4 of them OOOPS)

Wanderer: talked about his gender (trans guy) here, sexuality wise I see him as gay and probably mostly t4t. I also have a vision where Wanderer has the same relationship with aro + aceness as Collei but in sort of opposite directions. So my idea is Wanderer feels a lot of alienation & detachment regarding romance & sex & shares a lot of similar experiences to aro and/or ace people, but would choose to not ID as either label because after some time he concludes his relationship with both kinds of attraction is very influenced by trauma, and it would be more healthy for him personally to work on building a positive relationship with romantic + sexual attraction since he does actually experience it. So he sits on a plane of not identifying as aro or ace but like he gets it

Collei: Collei on the other hand, in contrast to Wanderer, finds aro + ace labels really helpful for understanding herself, even if she also believes in her relationship with both kinds of attraction overlapping a lot with trauma. Because for her she genuinely just doesn’t really feel she experiences either attraction and that’s sort of a comfortable default/conclusion for her. Specifically I’d give her the demi aro and asexual labels…in my head this goes with my Tighnari & Cyno headcanons where both of them are in an aroace relationship and give her really good advice/feedback on her feelings that make her feel more able to be confident about how she feels regarding attraction. Along with that I think she’s sort of questioning sexuality labels but would refer to herself as sapphic as a shorthand explanation. Gender wise I have a few different headcanons in mind…either transfem, demigirl, or bigender/genderfluid maybe? I see her as having multiple ideas of what sort of gender presentation she wants and going between them

Tighnari + Cyno: Okay so here I need to pitch my demi-aroace Cynonari vision. I think both Cyno and Tighnari would view their own queerness in ways pretty similar to each other, and one facet of this is where they fall on the aroace spectrum. I think it aligns perfectly where they’re both like, yeah I have no interest in romance or relationships the way people usually engage with them but you’re the only one who gets the exact way I feel about it + we get along well so honestly I’m down to be in our own form of a relationship with you specifically. I don’t think they really do labels with a lot of things: both of them are trans + non binary in one way or another, and both use gay/queer as identifying terms, but don’t have a lot of specifications beyond using umbrella labels really. They’re just chilling. As established this ends up being a good fit for their dynamic with Collei bc I think it gives her a lot more confidence about navigating her own queerness seeing Cynonari just kind of hang out and do their own thing

Nahida: she’s baby and does not strike me as someone who is going to think about romance or sexuality until she’s a lot older. I think if you asked Nahida to explain her gender to you she would probably employ a lot of very confusing metaphors you do not understand, all in an attempt to articulate what I’d write as a pretty shared experience between all the Archons in how they view gender. They seem to like…view themselves as genderless but sometimes opting into gender if they feel like it—and tend to intuitively relate it to their element. Which means the most you get from Nahida’s metaphors is she’s telling you her gender is plant and you do not get it but it doesn’t seem wrong so what can you do. I also have this additional thought I think is funny about Wanderer and Nahida having very deep philosophical discussions about immortal gender at 3 in the morning. In the context of the English language at least I think we need to tell Nahida about neopronouns I think she’d be a fan. So in summary she’s kind of baby and is not giving this stuff much thought right now but also being a god in my gender impact dimension kind of inherently makes you ponder the orb (gender)

[didntyoubelieveinme]

not to bring my little kpop guys onto this blog but i wanted to talk about some very interesting parallels i noticed when i saw this concept image for taemins guilty album.

ive already talked about my thoughts on the original scene in velvet goldmine in a previous post so i’ll start with the guilty photo. guilty has one of the most interesting concepts i’ve come across within kpop in like… forever. guilty is inspired by “erotism: death and sensuality” by the french philosopher georges bataille, both the album and the book exploring the idea of complex human emotions regarding sexuality, self-expression, as well as the taboo and societal view. there can be pages written about the entire album and storyline following the culprit and the victim, as well as the extended religious themes and well… guilt. i’d like to focus my attention more on the specific photo however and how, in my eyes, guilty parallels velvet goldmine so perfectly without even intending to.

the guilty photoshoot is meant to represent the viewer or “the culprit” as intruding, looking through curtains you’re never meant to look through. it’s voyeuristic in a sense, meant to leave you with the idea that he never escapes the watchful eye of others. the original scene in velvet goldmine focuses on brian and curt’s relationship and how they keep it hidden from the public. velvet goldmine is a movie for fans, by fans, and about fans—they deliberately keep these moments hidden behind a façade that you only see through by a stroke of fate.

curt and brian have their entire relationship publicized and capitalized upon, mostly encouraged by jerry devine. it was something born from genuine admiration before brian fell too far into the fame. throughout the movie their relationship is filmed from the same perspective as everyone else around them saw it, messy and falling apart. you’re not led to believe it was anything else until there’s those small flashing of something more.

after their official breakup, curt sighs in the car and just for a couple seconds you get the reveal of their getaway together. that in a moment where they knew no one was watching them, they still held each other close. but they weren’t alone—the viewer watches behind the curtains as they see what could be interpreted in a million different ways. the two could be expressing genuine love but you never know bcs you’re not supposed to know. it was a moment shared between curt and brian and only for them to understand. that they could just be themselves away from the world.

it’s similar to guilty, although it contrasts in the fact that taemin is alone. while velvet goldmine is fictional, it still expresses the same concept that many celebrities have faced and still face today that they are always on camera. guilty goes farther into the psychological stress and torment of taemin’s character, being controlled, manipulated, and influenced by this “culprit” figure. this is all the deeper themes behind the surface level analysis behind the image that is him being watched. the image seems to be set after he’s escaped from the manipulation and experimentation of before, showing that even though he “escaped” he’s haunted by the idea of “the culprit.” the music video even ending with him returning to burn down the original source of this trauma to end it all.

some could equate this to how brian sabotaged his own career to leave it behind and start a new one. one where he wasn’t “brian slade” or “maxwell demon.”

however while the actions of taemin’s character are freeing for himself and others, brian’s lie in a more selfish reasoning—watching the people around him fall apart due to his actions. maybe that’s where the similarities end. this is all probably a bigger analysis than i want to get into right now.

honestly i’m just yapping right now and i’m not sure if anyone else but me will care about this lmaoo. i just found the comparisons interesting considering the concept and themes behind both pieces of media. i’m assuming taemin has never actually seen velvet goldmine (though we never know 🤷‍♂️) so i find it beautiful how art can replicate itself in the most purest forms of genuine expression.

[1ovede1uxe]

Okay! I'm gonna request a matchup!

I'm bisexual so I don't mind being paired with men or women. I'm INFP even though in the past year I've become much more extroverted and bubbly. I'm always making jokes and I like making people laugh. I'm also always giving advice to my friends and I pride myself on making them feel better when they're down.

I'm Cancer Sun, Libra Moon, Gemini Rising, Gemini Mercury, Taurus Venus, and Sagittarius Mars.

I like to both draw and write. I also like dancing and acting but only occasionally. I hope to become an art or elementary school teacher one day.

I'm very stereotypically girly and I like pink, hearts, flowers and such. But I'm also very loud and outspoken.

I hope that's not too much! 🩷✨

Hey! Thank you so much for your request and info! This was just enough info. I match you up with. . .

Rohan Kishibe!

This quite honestly did come out of left field for me, but I was thinking about this during my rewatch of "Thus Spoke" and it clicked for me then.

You have a very evident passion for the arts, and this aligns very well with Rohan's passion for his work as a mangaka, so I see potentially similar values in regards to work ethic or creative opinions. You both hold respect for each other and each other's work, understanding in a way that not many others can. You also can grant each other understanding and also even inspiration!

Though we don't know his birth chart, Rohan is certainly a nosy individual, mostly driven by his natural curiosity (also for the sake of his writing career lol). Whether it's discussing new ideas, exploring different perspectives, or diving into creative projects, Rohan would keep your mind engaged, complementing your gemini mercury, which values communication and learning. I can see long and deep philosophical conversations between you both happening often, even if they don't fully make sense at times, helping you create a stronger intellectual and emotional bond.

Though he's not terribly outgoing, Rohan is still eccentric and has a distinctive style with everything he does. Together, with your more outgoing and bubbly nature, you create a vibrant duo, feeding off of each other's energy, creating some excellent chemistry!

Your desire to be a teacher one day is something that also stuck out to me, because thought Rohan may not admit it, he does have that nurturing/mentoring side to him, at least to the kids he likes (so exclusively Koichi, lol).

Despite his quirks, Rohan can be deeply caring and supportive, appreciating your efforts to make people laugh and feel better. Beneath his sassy exterior, he really is a caring guy, and his loyalty and protectiveness to his close friends mirrors your own dedication to helping others. Though he has an aloof demeanor, Rohan does have his moments of empathy, even for those he may not be close with. He would appreciate your cancer sun's nurturing and kind nature, creating a balanced emotional connection between the both of you. You might even help him express that towards others too.

While Rohan's style is more avant-garde, he definitely has a keen eye for beauty and aesthetics. He would appreciate your love for pink, hearts, and flowers, finding charm in your girly fashion sense. If he was ever shopping for gifts for you, this is something he absolutely keeps in mind.

You have a lot in common in unusual ways, and it would honestly take a little bit to crack Rohan, but both your character contrasts compliment each other well, so honestly it's almost a little too fitting.

I hope this was alright! Thank you for the matchup request!

[lurafita]

Make Them Sparkle

(fanfic, oneshot)

Summary:

If Raphael had any say in this, Magnus would not be allowed to give mundanes writing advice. Ever.

Magnus prided himself on being a person who went with, and adapted to the ever changing times.

He had witnessed many immortals who got stuck in particular time periods. Be it refusing to adopt new fashion trends, or remaining stagnant in certain behaviors or mindsets that had been common at one point in history. Bemoaning how things ‘used to be so much better back in the day’. People who needed to anchor themselves in the past, in order to face the present and future. 

Not Magnus, though. While he treasured many of the memories made during his long existence, he had always been the type to look forward, instead of back. 

He had seen and embraced the progress humanity made, philosophically, technologically, and socially. 

And, while the road of progression hadn’t always been a smooth one and weathered its fair share of hiccups along the way, Magnus certainly appreciated the fruits of this particular labor. 

(And not only mundanes, but the shadow world, too, had come a long way from what it had once been. Magnus would never not be proud of the part his dearest Alexander and his friends and family had played in that development.)

Anyway, being a "modern" warlock, and having personally supported some of the various technological marvels of the world they now lived in, Magnus had a deep appreciation for the internet. 

A way for so many people from so many different places and stages of life to come together, to connect and share with each other, was truly remarkable.

There was almost nothing that the internet didn’t have, unless it connected to matters of the shadow world, but even that was slowly changing.

From funny videos and beautiful music, to shops and art and so much more. 

Websites tailored to specific hobbies or tastes. Sites to find employment, or living accomodations. Those that gave the user an opportunity to make friends, or find love. 

And, of course, so called help-forums. Professionally or community run sites, spanning various topics all around offering advice when someone needed it. 

Like one particular writing forum for aspiring authors, which Magnus had found himself in one sunny afternoon, as he had been browsing aimlessly to waste some time.

One of the requests had caught his eye especially. 

‘Please help me bring fresh wind into old supernatural lore!’

Clicking on the request and reading further, Magnus had learned that the hopeful author was trying to write a teen love story with vampires and werewolves, revolving around a highschool mundane girl and her vampiric love interest, as well as a werewolf contender.

Magnus had snorted, thinking the idea hardly original, and had almost clicked away again, but one sentence had stood out.

‘Vampire love stories are a dime a dozen, I’m well aware of that. But while plot and circumstances often change around the different narratives, the lore and rules behind the vampires rarely do. It’s always a thirst and need for blood, a weakness to religious artifacts, and an inability to bear sunlight. That last one especially, I wish to change for my story, as I feel that describing a whole world that most humans are unaware of, and plays mostly in the dark, is terribly restrictive. But I also think that just waving any effect the sun might have on a vampire away, is a missed opportunity for exploring alternative plot points. Which is why I’m asking for any kind of inspiration or thoughts any of you might be willing to share.’

So Magnus had read on as the author had described their world and characters in a little more detail.

And upon learning of the broody, dark haired, stubborn, kind and compassionate main vampire character, Magnus couldn’t help it when his brain had made the comparison between a fictional character, and his very own favorite broody, dark haired, stubborn, kind and compassionate vampire. 

And as he was thinking of his dear little Raphael, the vampire he had taken under his wing decades ago and practically raised (even though Raphael had been 24 and fully adult by mundane standards when he had been turned), Magnus hadn’t been able to curb his more mischievous impulses. 

Clicking on the answering function to the thread, he had snickered heavily as he typed out just three words.

‘Make them sparkle!’

Who would have thought that, just a few years later, this little bit of innocent fun he had had, would come back to interrupt his sexy make out session with his precious shadowhunter boyfriend?

“Magnus!” The door slammed open and shut in barely more than a second, as an incensed Raphael stormed into the loft.

A lifetime of training and battle ready instincts had Alec lift Magnus off his lap and behind him in just one move (which was so fucking hot, if not for their unplanned intruder, Magnus would have climbed his boyfriend like a tree), as his other hand seemlessly went down to quickly retrieve the throwing knife strapped to his lower leg.

The defensive maneuver was aborted as soon as Alec registered who had just barged into the apartment, and instead the tall man slumped back into the couch (careful not to crush his boyfriend) with a deep, slightly annoyed, sigh. 

Raphael though reacted to neither the knife that had almost been thrown at him, nor the glare the shadowhunter was giving him right then.

Instead, he held up the book he had in hand and snarled in Magnus' direction. “What the fuck is this?!”

Magnus blinked, still trying to sort through the haze of his newly ignited arousal after Alexander’s display of strength and speed, and the clearly agitated mood Raphael seemed to be in.

“It’s called a book, my dear. It holds in its pages the wonder of the written word and thus the power to create wonderful and fascinating tales for all to share.”

If anything, that answer made Raphael look even more mutinous. Which was just rude, if anyone were to ask Magnus. 

“I know what a book is!”

Magnus huffed, finally straightening himself out of the mess of limbs he had been from Alexander’s manhandling him to safety (And they would have a talk about that later. As hot as that had been, Magnus couldn’t have his Alexander trying to shield him while facing a threat on his own.)

“Then why did you ask?”

Raphael could apparently not be bothered to explain, and instead just chucked the book at him. Once again shadowhunter reflexes trumped Magnus' own, and Alec snatched the book out of the air before it could hit the warlock. 

He scrunched up his nose a little (which was adorably cute in Magnus’ humble opinion and he quickly leant forward a bit to peck Alec on the cheek) as he read the title. “Twilight?”

It made Magnus smirk. “Oh, I think I have heard of this. A supernatural teen romance novel, if I remember Biscuit’s words correctly. I must be honest, my dear boy, I didn’t think this would be your type of thing.”

But the vampire just crossed his arms over his chest. “Open it up to the introduction.”

A little puzzled, but also curious, Alec and Magnus did just that. It appeared to be just your ordinary preface to any book. 

‘I thank everyone who has supported me through this, bla bla bla, I’m incredibly honored and grateful for this opportunity to share bla bla bla, I hope this tale will find a way into your heart bla bla bla.’

Really; pretty standard as far as the warlock was concerned. Until they reached the last section on the introductory page, and it slowly dawned on Magnus just why Raphael looked as if he had been forced to listen to Simon ramble about a deep introspection on why Spider-Man was the best Marvel superhero ever.

Oh.

‘I would like to give special thanks to someone I unfortunately have never met personally, but whose input has definitely helped to inspire me to spice things up a bit. So this is to you, The_Magnificent_Bane. I “made them sparkle”!’

“Oh.” 

“Oh?” Raphael thundered. “That’s all you have to say to this? You told this woman to make her vampires sparkle in the sunlight like some demented disco ball! We don’t sparkle! The only sparkly crazy person around here is you! Do you have any idea what the stupid flea balls are going to say when they learn of this? Are you laughing? Stop laughing! There is going to be so many glitter jokes in my future now thanks to you! I’m never gonna hear the end of this! Magnus! Stop laughing!”

Magnus stopped laughing. Eventually. 

[harvey-guillen]

i had a big brain moment on the way to work

by which i mean i'm once again going to dx one of my comfort characters as having bpd traits

Spike aka William the Bloody (BtVS)

He's messy, he's passionate, he's malleable! He was a shy, rejection-sensitive poet until he became an overly charismatic, rejection-sensitive killer! He thinks love is everything and gives his many lives meaning! But sometimes that love is not love, it's passionate infatuation and involves repeated unwanted pursuit behaviors (aka stalking). His alliances, stances, loyalties, feelings can often change quickly on a dime! He literally took a coat from someone else and made it his whole look and personal signature style (bpd mirroring behavior to an extreme). He was enmeshed with Dru, hot and cold (mostly cold - abusively so) with Harmony, wanted to be enmeshed with Buffy, did get enmeshed with Buffy through an unstable, destructive relationship. He can be myopically focused only on his own needs (granted he IS a vampire) and fail to see others' unless the situation doesn't involve him, then he can see it more clearly than they can (lovers walk). He has weird chemistry with almost EVERYONE (Xander, Angel) because of his superficial charisma!

He splits (quickly vacillating between adoration/idealization and hatred/devaluation) on Buffy in a big way. She's the ideal women, she's the 'bitch' who won't let him take a stationary 'walk' outside her house every night (ie watching/stalking her), she has 'stupid hair', etc. He does this to Dru as well in "Crush" and Harmony on a regular basis (she's his 'baby', she's an 'idiot', she's adorable, she's his punching bag, etc.)

But most notably: he slides into a LOT of different roles in the show. He's villain, lover, hated ally to buffy in s2, annoyance and philosopher in s3, partly neutralized enemy and thanksgiving dinner 'guest' in s4, stalker and sometimes ally in s5, abuser AND abused in s6, serial killer AND redemptive sacrifice in s7 - then ghost turned ally/comedic sidekick turned final battle warrior in Angel S5. Yes, most of this is due to the writers trying to find ways to use James' appeal as an actor throughout the seasons without having to kill off the character, and reportedly it was difficult to integrate him into the plot in a way that felt organic starting in S4. But the end result of this, factoring in James' chameleon-like and committed performances, is that Spike is a LOT of things and slides into these roles with ease even if they don't fully 'fit' him in a way that feels essential to who he is. That's malleability - that's something people with BPD traits can exhibit and even struggle with. Lack of cohesive sense of self -> trying out different roles based on whomever you are drawn to or idealizing -> altering behavior patterns, style, mode of personal expression, etc.

But most convincingly, his entire identity is based on the strength of his emotions and attachments. They take him down so many paths and change him fundamentally as a person. First Dru then Buffy, from being seduced into becoming a great evil to ultimate sacrifice for love and the forces of good. His entire philosophy of life is that it's driven by romantic passion:

“You're not friends. You'll never be friends. You'll be in love 'til it kills you both. You'll fight, and you'll shag, and you'll hate each other until it makes you quiver, but you'll never be friends. Love isn't brains, children, it's blood - blood screaming inside you to work its will. I may be love's bitch, but at least I'm man enough to admit it.”

Listen when I was 14 I was like "huh the excess grandiosity and passionate yet unstable affect and behavior are a vibe here"

And 20 years later I am aggressively tackling my own bpd traits through all the therapy. But was Spike an early awakening of the fact that my emotions run deeper than I'd like? Maybe, maybe not. Still an interesting question.

NOTE: This is just a headcanon/fan analysis using a framework familiar to me. I am NOT seeking to babygirlify or absolve any of his terrible behaviors. I think much of the show is resonant with viewers because many of the characters have a dark arc at some point. Willow is for the perfectionists who hurt themselves and others in their pursuit of avoiding painfully imperfect situations and their own errors. Xander has hero moments but also deep insecurity from his family trauma and a toxic possessiveness of women. Buffy shoulders the weight of the world but finds it hard to express things that torment her internally with those whom she loves. Angelus is the PERFECT metaphor for the cruelty of a first boyfriend who grows cold and abusive after physical intimacy. The show takes us to VERY dark places - and ultimately that is what I take from it, not one relationship, season, or storyline.