#the antagonist's role (some conventional)

[the-ravenclaw-werewolf]

I would love see that! Tho I imagine some of the more dangerous ones are more far away. Tho like is villain organization also a part of this? Because I think it be interesting to see how some of them will reaction to how the other run. For example Shigaraki actually give the League of Villains more freedom and does treat them with respect. But someone like Muzan who is a control freak over Twelve Kizuki and willing to kill them off.

It would be interesting to see different teams of antagonists interact with each other. From arguing over their ideologies to trying to defend themselves (if they do at all) with their motives/backstory(s). Not the mentions the fights, like the Twelve Kizuki vs the League of Villains. (i.e. Toga vs Daiki or Dabi vs Doma)

Disclaimer:

However I, at first, tried to bring more than one villain from the same show since not all of these here are real antagonists, but then it would make watching these other shows pointless. And there will end up being more characters to keep track of. So I, and Entity, apologize in advance to all the normal people in this list.

(But whoever picks this up, it's up to them to do just 40 antagonists or pick just a few or more.)

(And remember, ALL of this is also subject to change since this just a bunch of ideas FUNINTHEEYEOFMADNESS and I came up together on the spot.)

🚨 THIS IS ALSO ANYONE'S MINOR SPOILER WARNING JUST IN CASE! YOU HAVE BEEN WARNED! 🚨

Title:

The Antagonist’s Role (Some Conventional)

or something else (In the title I’m trying to convey that these people are the antagonist to the protagonist, but some only fill in that role because of convention).

Synopsis:

Spin-off fic, (non-canon), where the Entity is feeling vindictive against the antagonists of the 40's stories, so it makes another dimension kidnaps the antagonists of the 40. It doesn’t want to take those who are innocent, but there will be an imbalance to the universes if it tries to take more than one from the same dimension, (excluding the 40).

Just like MCS (WE), it will be a reaction fic to their respective stories. However, since Entity wants to rub salt into the wound, the antagonist will also be reacting to what is happening with the 40 cast, showing that they are growing, healing, and all around just doing better than they are.

Characters:

Now some characters are obvious, but others are just antagonists by convention:

Cowboy Bebop: Vicious

Avatar: The Last Airbender: Ozai

Legend of Korra: Amon OR Unalaq OR Zaheer OR Kuvira

Ouran Highschool Host Club: Benio "Benibara" Amakusa (Everything about this woman wants to make me pull out my own hair!)

Death Note: Light Yagami

Black Butler: The Undertaker

Hetalia: Belarus (Listen… if RUSSIA is scared of her, then you need to run for the hills!)

Fullmetal Alchemist: Father

Blue Exorcist: Satan

Hunter x Hunter: Hisoka Morrow OR Chrollo Lucilfer OR Meruem

Kuroko’s Basketball: Daiki Aomine OR Seijūrō Akashi OR Makoto Hanamiya

Attack on Titan: Zeke Yeager

Danganronpa: Junko Enoshima

Free!: Rin Matsuoka (I know I shouldn’t do this to him, but he was an antagonist during the beginning.) OR Hiyori Tono (I still hate him for what he said to Haru!)

Kill la Kill: Ragyō Kiryūin

Haikyuu: Oikawa Tooru (I am not dissing him, I love his character! But he was the antagonist to beat.)

Assassination Classroom: The Reaper

Food Wars!: Azami Nakiri

One Punch Man: Garou

Erased: Gaku Yashiro

My Hero Academia: All for One OR Shigaraki

Mob Psycho 100: Toichiro Suzuki

Yuri on Ice: Jean-Jacques Leroy (I don’t hate him, but like some of the others, he is pretty much antagonistic to the cast of YOI.)

Kiss Him, Not Me: Takeru Mitsuboshi

The Disastrous Life of Saiki K: Kusuke Saiki

Miss Kobayashi Dragon Maid: Jida/Jii

The Royal Tutor: Ernst Rosenberg

Kakegurui: Kirari Momobami

Cells at Work: Cancer Cell

The Promised Neverland: Isabella OR Peter Ratri

Love is War: Oko Shinomiya

Fruits Basket: Akito Sohma

Demon Slayer: Muzan

Dr. Stone: The Whyman

Given: Ayano Kasai (I know she is not an antagonist, but she was a little antagonistic.)

Beastars: Melon

Welcome to Demon School Iruma Kun: Ami Kirio OR Baal

Toilet Bound Hanako-kun: Yugi Tsukasa

Jujutsu Kaisen: Sukuna OR Geto

SK8 the Infinity: Ainosuke Shindo/ADAM

Setting:

Instead of a mansion, the Entity makes a prison for them to stay in. There are three levels of the prison:

Level 1: Misplaced

These are characters where they go up against one of the 40/interact with them, but it doesn’t mean they are evil or mean, they just happened to be the antagonists of one of the 40’s stories. They are given actual rooms, their own bathrooms, good meals plus desserts, good clothes, and misc. items to entertain themselves. (Plus their own kitchen, gym, craft room, etc.)

(This will house:

Oikawa Tooru

Jean-Jacques Leroy

Ayano Kasai)

Level 2: Disciplined

It’s almost the same as Level 1 except they are the bad guys of their stories but they actually have shot at redemption. They will have their own room, but only with the bare necessities. They are still served food, but any desserts, misc. items, or any kind of reward will only be given if they actually work to redeem themselves.

(This will house:

Benio "Benibara" Amakusa

Belarus

Daiki Aomine OR Seijūrō Akashi OR Makoto Hanamiya

Rin Matsuoka OR Hiyori Tono

Garou

Takeru Mitsuboshi

Kusuke Saiki

Ernst Rosenberg

Kirari Momobami

Cancer Cell

Isabella (If you choose her)

Oko Shinomiya

The Whyman)

Level 3: DETAIN

There are the worst of the worse, monsters, villains, you name it. They will basically be treated like prisoners for their stay. All of them wear collars that not only block their powers but will shock them if they attempt to do anything remotely evil, violent, etc.

(This will house:

Vicious

Ozai

Amon OR Unalaq OR Zaheer OR Kuvira

Light Yagami

The Undertaker

Father

Satan

Hisoka Morrow OR Chrollo Lucilfer OR Meruem

Zeke Yeager

Junko Enoshima

Ragyō Kiryūin

The Reaper

Azami Nakiri

Gaku Yashiro

All for One OR Shigaraki

Toichiro Suzuki

Jida/Jii

Peter Ratri (If you choose him)

Akito Sohma

Muzan

Melon

Ami Kirio OR Baal

Yugi Tsukasa

Sukuna OR Geto

Ainosuke Shindo/ADAM)

All levels are separated by another floor, with Level 3 in the basement to Level 1 at the top. There is around the clock monitoring thanks to Indigo and they are allowed outside, but Level 3 are the only ones who are scheduled with times and such.

The ground level is where they’ll be viewing what is going on with the 40. And the Entity is much more involved. FUNINTHEEYEOFMADNESS came up with the idea that to the people in Level 1 it would talk to the occupants like an empathic therapist. Level 2 is a no nonsense tough love overseer with the same empathy. And Level 3 is where the Entity will be the jail guard/jester/tormenter, pointing out their flaws, the pyrrhic victories and just rubbing it in. And, for the more arrogant of the prisoners, it will showcase their reality warping abilities to prove a point.

To quote FUNINTHEEYEOFMADNESS, "I would also imagine that for level's 2 and three the entity would make the prisoners do prison chores, but only to prove a point and make them build character. As any real chore can be solved by their reality warping effects."

The prison island would even be surrounded by an Eldritch Abomination to replace the ocean and act as a deterrent to kept them from trying to escape, (not that they could).

Something like this:

The Eldritch surrounding the island is obviously alive, but it reacts differently to the people coming outside. For Level 1, it will act similar to a puppy and all round just be playful and helpful to them. With Level 2 it will act indifferent, not choosing to intervene but will do so if necessary. But if someone from Level 3 steps outside without permission, it will go into berserk mode.

Ending:

Since this non-canon, it's kind of opened ended, but this what FUNINTHEEYEOFMADNESS and I came up with:

They will all have their memories erased OR only Level 3 will have their memories erased, (to which they will get back when they 💀) while Level 1 and those who redeemed themselves from Level 2 will keep their memories.

As to their connection to the 40, there are two scenarios:

1. Those who kept their memories while contact them when they get the chance and apologizes/helps the MCS (WE) cast with their adventures.

2. Somehow, someway, the 40 finds out what the Cloaked Figure is doing, those who have the unredeemable villains would see this a fitting punishment while those who have antagonists who are still redeemable or who are just antagonists by convention would ask if the Entity is insane. (And might even ask Entity to allow those of Level 1 to come back with them to the mansion and Level 2 once they’ve redeemed themselves.)

Reaction/Interaction Excerpts:

And of course, how can a can this be a reaction fic with some reactions?

To their stories/the 40:

To quote FUNINTHEEYEOFMADNESS again, "I would imagine they would either be downtrodden, guilty or seething in jealously. Another good point, since the 40 story is about hurt and comfort, the characters learning from each other and making themselves feel better, the villainous 40 would be judged by their peers and criticized. This can range from insults, being appalled by each other's actions or just rubbing it in each other in a sense of hypocritical moral superiority."

To each other:

Level 3 would have those arguing who had the better plan, motive, who had the harder protagonist to deal with etc. Basically an ego measuring contest. And the other levels would want to stay far away from them.

Level 2 would have them defending their case on why they did such actions, even though most of them won’t buy it, and some would actually engage in nice conversations. Level 3 would just call them pathetic while Level 1 would attempt to be friendly, as long as Level 2 cooperates.

Level 1 are just confused about why they are there and want to go home. Reactions to each other may vary, but they would be nice and comfort each other while allowing themselves to relax slightly since they are living much more luxuriously then they had been before. Level 3 and the stubborn half of Level 2 would be glaring at them while the redeemable half of Level 2 would be glad that they are in good living conditions.

How they would interact:

Level 3:

Ozai, Satan, Ragyō Kiryūin, Azami Nakiri, Toichiro Suzuki, and Akito Sohma would all be complaining to each other of how their bloodline/family members are such failures and how they would want to exact their revenge for going against them. They still don't get along, but they bond over that.

Light Yagami would keep trying to argue that he is not a villain, that he is a god, and all that nonsense, and it's usually Sukuna OR Geto, who yells at him to shut up and threatens to strangle him, shock collars be damn.

Yugi Tsukasa and Junko, somehow, bond over how much joy it bring them to see others in despair.

ADAM and Hisoka (if you chose him) would share in how they are looking for the most skilled/strongest, but when ADAM learn that Hisoka is a... ADAM would request a restraining order against him.

Amon OR Unalaq OR Zaheer OR Kuvira and Zeke Yeager would indulge in their own ideas of equality and freedom along with their radical methods of how to achieve such goals, (Light wouldn't be in this since he sees them as criminals and not himself, talk about hypocrite.)

With every interaction and banter Undertaker would just be shaking and crying with laughter as he finds all of this to be hilarious.

Level 2:

Benibara, Seijūrō Akashi (if you chose him), Kusuke Saiki, Kirari Momobami, and Oko Shinomiya would all be fighting for the leadership role in the group, and some of them are willing to draw blood to get it. (But it's Isabella, again if you chose her, who assumes the leadership role.)

Kusuke would actually try to study Cancer Cell while Garou would also be demanding to fight him to determine who is the strongest. This resulted in the two being threaten by Cancer Cell on a weekly, to daily, basis to stop.

The Whyman would just watch the humans being stupid.

Level 1:

All three of them get along, even though both Oikawa and JJ has egos the size of a house, (though these two would share in their woes of how they are the best and yet always fall short to someone else), and the three would comfort each other if need be. And JJ, who is the oldest in the group, would unconsciously take up the parental role.

Conclusion:

It the same premise as MCS (WE) except that this centered around the antagonists of the stories and most of them are either getting treated like the scumbags they are or are getting redeemed.

I'm not sure if FUNINTHEEYEOFMADNESS or if anyone else is going to actually write this, but if anyone does, or if they just what to keep bouncing around ideas, I'll happily lend a hand and or ear!

[unproduciblesmackdown]

blade gunnblade !!!!!!!!

via eliza simpson:

There are no words for this true warrior. They kill me. MMM: went in for a post show hug. Me:"ow!" Asia: "oh sorry, that's my bullet necklace." 😳........ 😍

[todayisafridaynight]

Right??? Thanks so much! I actually first fell in love with Jo's character when RGGJo's voice lines came out haha, so it's super fun to be able to share them.

But I can think of a couple of reasons for the wild personality gap, and for me it starts at their respective roles. Obviously main antagonist and major supporting character are going to draw different levels of attention to themselves, but I think it's chiefly that RGGJo is not just Jo, but he's both Jo and Masato as one character.

RGGJo is much, much closer in age to Ichi, and though they're not "twins" like Ichi and Masato are (RGGJo is a little more than 2 years older), it's thematically there I think. The whole "twin dragonfish," dark and light, two sides of the same coin kind of thing.

And just as Ichi was initially conceptualized as a sort of "greatest hits compilation" of the previous protagonists' most compelling traits, I think there's a strong case for RGGJo being the same for the previous antagonists--specifically Nishiki, Ryuji, and Mine, who are pretty clearly Yokoyama's favorites anyway lol.

I have a feeling casting has something to do with it as well. RGGJo's actor, Hiroki Takahashi, is actually the exact same age as he is, and he's voiced his fair share of fun, flamboyant villains. If I wanted to speculate, he's also voiced his fair share of BL, so that may be why RGGJo's voice lines have a Certain Slant to them; directing his delivery to capitalize on his established appeal (although he has quite a range) makes sense.

Tsutsumi is also only a few years off from Y7Jo, and he was cast for having the dignity and screen presence to "make every word feel like it might have a deeper meaning." Yokoyama (and Takeuchi) wrote the games, he and Nagoshi handled the casting, and Yokoyama generally handles the voice direction for the main story, so a lot of it's specific to his vision.

Within that context I think it's relevant that he wrote Y7Jo while picturing Tsutsumi specifically. RGGJo was more malleable and less "consequential" in terms of the franchise, so, y'know, why not have a little fun with it? I think that's reflected in their designs as well. RGGJo's is larger-than-life while Y7Jo's is relatively subdued.

Overall, I get the sense RGGJo's role is more akin to "son" and "brother," (aniki, if you will), like Masato, whereas Y7Jo's role is more akin to "co-parent" and "father" and I guess "Evil Stepdad" in a Cinderella kind of way. It's not exact across the board, it's not literal across the board, but it's the archetype, right? And I think that does, exactly like you said, have far-reaching consequences for their backgrounds and who they've become as a result.

BTW, you actually are up to speed on Ichi's story, because uh… that's where it stops lol. It was discontinued at roughly the equivalent of the start of Chapter 12 in 7; the rest of the story was written, but not published. It Kills Me.

But I think, despite any concrete backstory, the implication for RGGJo is that (if I assume he joined earlier than Ichi, which would make sense given he's captain), he was at most 18 or 19 when he joined, and he's exactly the same kind of Arakawa fanboy Ichi is. The 15th anniversary book goes on to say he "was purely in love with [Arakawa]'s greatness" and so cannot tolerate the idea of allowing him to live and die in obscurity at the bottom rungs, of Arakawa being in a position not equivalent to his "greatness" in his eyes.

But Ichi thinks that's regardless of what Arakawa himself may want, since RGGJo is apparently not going to stop until he makes him chairman, which the Arakawa Ichi knows wouldn't really care about. I think there's an interesting mix of selflessness and selfishness in his desires that reminds me of Mine.

And that's explicitly as opposed to Y7Jo, whose loyalty remains the same, but whose feelings and motivations are complicated by the existence of Masato; the usage of "purely" before is notable here, as another suitable translation would be "uncomplicatedly," which to me would suggest that degree of admiration is a component of his loyalty in 7 as well.

So I think you're absolutely right the circumstances with Masato are a major aspect of what's going on with Y7Jo. It's inextricable because he's got this immense gratitude towards Arakawa for raising his son and also a need, a primary driving force, to be a part of his son's life at (almost) all costs. The natural result of that is going to be reluctance to do anything that tips the balance.

I think that's one of the things that make him so compelling, he's forced to make a lot of tough, meaningful decisions and there's often (but not always) no right answer. And that's really clear to see with Aoki, as you say.

(Kind of a side note, but somewhat contrary to the above, Masato may actually have existed in RGGO's timeline. There was a comment from Yokoyama or Takeuchi suggesting he's not in RGGO not because he simply "doesn't exist, but specifically because Arakawa may not have opened the right locker or may not have made it to the lockers in time. I guess the other implication would be that Masato would've been Arakawa's biological son in RGGO instead, since RGGJo would've been too young and there was no need for a switcheroo? It was just an off-hand comment, but it's interesting to think about.)

Also, loved your tags haha. It's SO funny you start off like you're going to say something crazy and then it turns out to actually be something I wanted to write about in the previous ask, but that I cut out because I couldn't make it flow. I guess it might just be the case that I'm crazy on the same wavelength?

But yes! I think a lot of the time, impressions of that aspect Jo's backstory sort of begin and end at Evil Stepdad Perpetuates Cycle Of Abuse, perhaps understandably, but there's genuinely so much that's established in both his and Arakawa's backstories that have clearly stayed with them that I'm positive your take on it is at the very least least true to the character, whether or not it's intentional.

Because like, Arakawa and Jo both came from abusive households. And they're both affected by Aoki's "parental abuse" (although Aoki doesn't know it himself, I guess he doesn't need to). But the way Arakawa has always dealt with abuse is defiance; I think the implication of one of the first scenes is that that's how he got his scar. Jo, on the other hand, has always dealt with abuse with avoidance. Running away. Brushing it under the rug, like he says he and Ikumi had done all their lives; I think that statement's fairly clearly linked to abuse and neglect.

And I think that shows both in Arakawa and Jo's respective responses to traditional authority figures and in how they choose to handle things with Aoki. Arakawa defies Aoki's plans in his own way at every turn, and he ends up getting killed for it. Jo, on the other hand, ignores it until there's nothing left to do but sever himself completely, in the same way there was nothing left to do back then but run. IT'S SO. Ugh.

Each Jo's respective role in the overall plot of their stories definitely plays a part in why they turn out different from each other the way they do; it's interesting to see how RGG decided to handle Jo's character to sort of 'adjust him' to fit better as more of a background figure than The Big Bad, and to especially see how his relationships end up is spectacular. Choosing to divide that devotion between his son and his boss in Y7 is something I'm just positively obsessed with: it's clear he joined the yakuza predominantly for Masato's sake, but the concept of Jo gradually coming to genuinely respect Arakawa as an individual opposed to someone that he just happens to have to follow after because his son's involved heightens him as a character for me (I might have to write a side piece on the psyche of Jo- there's just a bunch of aspects to him that I want to explore better and really intrigue me, but I refuse to try and squeeze any of that into this long-as-is answer lmao).

I definitely recognize Ryuji and Mine the easiest in RGGJo (Mine's influence still persists a bit in Y7 to me, if not solely for his devotion and his own version of The Knife Scene existing as The Eye Scene; though Jo's anger wasn't purely due to Arakawa's death in that scene like Mine's was due to Daigo's 'death', it was clear Arakawa's passing was a sore subject). Jo's dedication to Arakawa in RGGO really is totally reminiscent of Mine's devotion to Daigo: both willing to take drastic measures to secure the ones they idolize the spot they feel they deserve and to exterminate any opposition to that dream (if I'm remembering Mine's RGGO story right wherein he partakes in the Okinawa deal as a HUGE ploy just to secure Daigo remains chairman should he wake up, but I don't have to clarify how that didn't go as planned).

As for Nishiki, it's clear Jo borrows his 'position' in the story, just as Ichi obviously takes Kiryu's. To yoink a phrasing from another ask I got, they're 'dark parallels': though they both clearly want the best for Arakawa, they're going about it in different ways (in that sense, Y7Arakawa's line about him seeing the Arakawa Family as his 'sons' makes this situation a little funny: just two kids fighting each other for what's best for their dad lmao). It's a shame the story didn't go on any more after the Millenium fight, but I'm a little happy knowing in that I'm not missing anything (what I will scratch my head over is what RGGOMasato would've been like. I guess it's not exactly certain whether or not he survived The Locker Incident or he was just so considerably normal he wasn't worth bringing up, but regardless I'll have a ponder about it..). It'd be rad if RGG ever decided to release at least the drafts of the rest of the story one day, but I won't hold my breath.

I've peaked over at Takahashi's past roles (I didn't realize he's voiced so many characters I know omg), and I think that's a fair conclusion to come to: he repertoire combines characters with sort of 'harsh' tones to their voices/dialogue, but as you said he does benefit from having voiced some 'lighter' characters! As for Tsutsumi, I think I've made it a little clear on my blog that I've taken time to look at his past projects, and though I haven't seen all of his roles, Jo's an interesting inclusion to his list (but by no means an inappropriate fit. If I were to compare him to one of Tsutsumi's past roles, Nobunaga Oda from Honnouji Hotel is similar in being an intimidating man with a violent reputation but still having a 'soft'/deeper side). It gets more fun when I think of it: Tsutsumi, from what I can gather, is a tad renowned for playing loving fathers (whether they're perfect fathers depends on the character, but they all absolutely adore their kid/family- this might be the only time I've seen him play a father and he isn't doting on his kid, lmao). Yokoyama and Nagoshi are definitely masters at deciding who should play who and how to utilize their talents efficiently, and having prior knowledge to Tsutsumi's roles, I feel as though audience members would have been able to get a hint at Jo's whole character early on (just as RGG had capitalized on Takahashi's reputation) which I personally find to be a fun tidbit, if not just grateful that they chose such an excellent actor to play such an intricate character. Ergo, his ability to give 'deep' performances and have that sort of presence and give his character that type of atmosphere definitely helps enhance the human aspect of Jo's character.

It's a great blend into Jo's otherwise cold demeanor, and going off the idea that RGGJo was a combination of Masato and Jo, the decision to have Jo be a committed father to Masato (as much as he's allowed to be, anyhow) while Masato became the power-hungry villain (even if RGGJo's motivations were ironically centered around Arakawa succeeding moreover himself), it's somewhat of a roundabout way to have them still be connected: though they're not the same character anymore, there's that bond that keeps them stitched together that I find neat.

AND THANK YOU ABOUT MY TAGS I can't sugarcoat it, I'm not a very confident person, so I'm glad you've gleamed there's some validity to what I'm saying. And I'm glad you've expanded on not just Jo, but Arakawa's upbringing as well: though they both come from abusive homes, they do handle it differently, and I feel so blind for not even having wholly noticed it in how they react to Aoki- it's so brilliant I almost want to scream. It's a tragic irony that despite Jo resolving to not 'half-ass' things anymore and to face things head-on, to 'take responsibility', he incidentally falls back into trying to avoid the problem for as long as he can. It's poetic really, and I'm positively going to go insane over the fact.

[rescue-ram]

Elaborating on my previous post in as unborked a way as possible....

In S1-S3, TrapHawk and FrankMarg are often contrasted as dueling couples very explicitly. So I'm going to take my statement "Hawkeye is more effeminate but Trapper is more feminine" and apply it to Frank and Margaret to clarify what I mean.

"Frank is more effeminate than Margaret, but Margaret is more feminine than Frank." Frank is unmanly, in a hypocritical, denying, self-deluding kind of way. He's a poser, and the humor comes from having his pose exposed as fraudulent and inauthentic. Hawkeye is also unmanly, but in a cool way, because he owns it and deliberately shirks what's expected of him "as a man" because he has no intrinsic respect for it. The humor comes from his rebellion and self-confident outrageousness. Margaret is more traditionally masculine in many ways than Frank, something which is played for (sexist) humor in its own right, and to contrast how unmanly Frank is by comparison and heighten his jokes. Trapper's masculinity plays a similar role- while he sometimes plays the sissy to back up Hawkeye, he more frequently acts as a straight man to heighten the contrast and make Hawkeye funnier.

So when I'm talking about feminity, I'm thinking of it not just as "unmanliness", but as "traditional feminine role". Margaret plays that to Frank- she's supporting him, hyping him up, she's his distaff counterpart. A lot of their humor is that old school Punch and Judy "nagging wife and henpecked husband" stuff, for sure, but there's no question that he's the main antagonist and she's backing him up. I think when people say she doesn't become her own character until he leaves, it's because she's so much his other half while they're together. Trapper is also playing a supporting role to Hawkeye- he's also the helpmeet, the supporter, the other half. In some ways I think he actually plays to the ideal of traditional feminity better because he doesn't subvert Hawkeye the way Margaret will do to Frank sometimes. I'm sure I'm forgetting something but I can think of like two times Trapper puts Hawkeye down for a joke, while Hawkeye does put Trapper down semi-frequently. Similarly, Trapper plays a caretaking role semi-frequently but I can only think of two times Hawkeye plays that role for Trapper. If under patriarchy to be a man is to be in charge, to be independent, to be your own person, who's the man in Trapper and Hawkeye's relationship? Not Trapper.

Contrasting Trapper with a few other characters just to further clarify my thinking on this... Klinger also has the Bugs Bunny effeminacy as rebellion humor going on, but he isn't a feminine person- the humor is the incongruity between his masculine bearing and his behavior. Radar plays a support role to Henry as well as to TrapHawk, but he is very much his own wily little person, he isn't "the other half" to anyone in particular, and although he's "unmanly" he's unmanly in the ways boys are, not women. He isn't a feminine person. A lot of Henry's humor comes from playing around with his masculinity, but it's never directly or pervasively subverted or questioned. I think Mulcahy kind of comes closest to "feminine man", but his rather soft and supportive nature is also contrasted with his outbursts of more conventional masculinity, even in S1-S3 when he's a more minor character.

I could point to other things that give Trapper a feminine vibe to me, even though he's not unmanly, things that are kind of female coded in our culture- his quietness, his neatness, his fondness for kids, his morality especially- but my thesis here is Hawkeye's effeminacy is an act of self-assertion, and Trapper's feminity is a role of support.

[everythingthatsgoingon]

I was just thinking that given that Lila/Cerise is going to be a/the main antagonist in the future, it's a good thing that the Miraculous team now seem to have Félix on their side (and in their friend group too I suppose) as he might be the only one who will be able to see through her future's alias lies.

I mean, sure Marinette saw through her the first time, but not only was her jealousy over Adrien a major factor, she also knew for a fact that Lila didn't know Ladybug.

Similarly, Adrien, being Chat Noir, could find it suspect that Ladybug would be friend with a civilan, let alone one who talked about it so freely. What's more, while he might be a bit naive at times, his fame has him used to liars up to a point.

The rest of their friends though all seem pretty willing to trust her. I guess the only odd-one-out is Luka who I believe never interacted with her.

If she goes with more subtle lies, the way I seem to remember she did with Kagami, not lies about extraordinary achievements or famous acquaintances, but lies or implicit suggestions about interpersonal relationships, I'm not sure any if the Miraculous holders will see through it.

Félix might be the only exception in my eyes. While he seems to be somewhat sheltered, like Adrien and Kagami, and thus not the best when it comes to social cues and conventions, he is the most wary, the one most used to fend for himself. He is naturally suspicious where Adrien would give people the benefit of the doubt. I'm not sure if his Miraculous might give him an additional advantage (make him some kind of empath), but that's also something to keep in mind. His own acting skill might be, to our knowledge, limited to imitating his cousin, but his skills as a magician might help him catch Lila/Cerise red-handed at some point. And he has shown an ability to come up with ambitious plans and to achieve his goals through a variety of means that only Lila/Cerise can rival with so far.

The rest of them are just too "innocent".

Though Luka could also be a candidate, due to his "empath" music skills.

For both of them though, there is the question of how much interaction they might actually have with Lila/Cerise as they have been rather secondary characters so far. And the show seems to stubbornly only focus on Marinette/Ladybug, and Adrien/Chat Noir to a lesser extent. The start of a new villain arc would be a great time to change the dynamic, but I'm not very optimistic regarding the probability of this actually happening (this is a kids' show with a vested (economic) interest to keep focusing on the friendly heroine and her cool & gentlemanly sidekick, rather than the deeper, somewhat ambivalent secondary characters).

In the end I wouldn't be surprised if they have Marinette being the one to see through her because of Lila/Cerise's animosity towards her and Ladybug. Possibly with Adrien/Chat Noir being taken advantage of, with the true circumstances of his father's death being kept from him by Ladybug, and Lila/Cerise telling him the truth or something close to it, plus not having "been there to save his father" and him still being just "one of the (Miraculous) team" getting to him.

If they are going to stick to Marinette and Adrien instead of giving a bigger role to secondary characters, let's hope they at least make it somewhat interesting by having Marinette completely falling for the "new girl's" friendly attitude and Adrien being the suspicious one.

But yeah, fingers crossed for more Félix screen time (he's definitely the most interesting character so far, toeing the line between "good and bad") and him being key to "defeating" Lila/Cerise. And in general to more "mature" storylines than what we've had so far. And/or more realistic ones.

[inhuman-obey-me]

What are you opinions are the 4 Seraphs/archangels Michael, Lucifer, Gabriel, Raphael?

Are they like brothers? or sibling rivalry? What do you think of Michael? I always thought fanon Michael will be just a dick compared to canon Michael we know.

Well we have a lot of thoughts in general about all the angels we know in the game, which we won't get all into here. This already got long so we're focusing more on the latter part of your question.

Obey Me has actually never made mention of Gabriel, despite him being a more known angel in pop culture. The only other angel they've mentioned, funny enough, is Uriel.

When we first meet Raphael in Season 4, you can also guess that his name is Uriel of the given options, to which Raphael scoffs that you're just throwing any angel name out there.

(rest under the cut, and includes some Nightbringer spoilers)

In Season 3, Angel Lucifer makes note of three other angels when he talks about turning to angels for advice -- all three of whom are established to have been among seraphim (though, as we know, Simeon was later demoted), though how many others there may be is unknown.

We also know that the Celestial Realm has everyone calling each other brothers and sisters, very much in that brothers-in-arms/sisters-of-the-convent kind of way.

From what we've seen, they seem to interact very much as both colleagues and friends, more than siblings per se. The only ones we know were treated and acted as actual siblings were Lucifer and The Brothers (+Lilith) since it seems Lucifer basically went and adopted all of them.

So yeah, it seems more like the seraphim and other high-ranking angels, for the most part, were a "work family" of sorts, more than literal siblings. And among them, there were some genuine friendships within that, in the way that work friendships sometimes form, and some tensions as well.

As for Michael ...

It's interesting because we've gotten to know very little about him, but what we have heard paints a certain picture. On one hand, he has been spoken of as someone who is also sadistic and a tough leader. Lucifer, the one who was most equal to him before the fall, describes him in the screenshot above as someone who "overcomplicates things and twists them into something they're not".

And although Raphael is consistently described as being somewhat close with Michael -- descriptions of him include being an assistant to Michael, "the only one who understands Michael", and the one whose job it was "to look after Michael's needs, no matter how unreasonable", plus the Nightbringer website also mentions in Raphael's bio that he chose to side against Lucifer in the war because "I can't abandon [Michael]" -- he's also the one who says he takes it "as an insult" to be mistaken for Michael, and then goes on to call Michael "a socially inept weirdo".

Michael also sent Simeon with a message to Diavolo that was basically a thinly veiled threat back in Season 2.

We also know he was quite upset with Simeon when the latter went and took the Ring of Light back, which did lead to Simeon being quite harshly punished.

On the other hand, we have had him be nice to MC (after initially thinking they would be wicked and awful because the demon bros adored them). We also know that he apparently does really miss and love the Brothers, both from that same conversation with MC and Luke, who has mentioned that sometimes Michael will stare sadly at the walls where their portraits used to hang.

Safe to say, he's another complicated character. That said, considering where Michael stood during the war and his more negative qualities, we totally get him being portrayed as more of a dick in fanon because, same. He could be both a character who did/does genuinely love the brothers and still has done things that are antagonistic -- and if anything, that makes him more interesting! Plus, his role in the Celestial Realm as effectively the leader of the angels only adds more inter-realm intrigue to how to interpret his actions. We're hoping we get to learn more about him in Nightbringer so we can get a better understanding of him!

As for the rest of them, we have too many opinions to really dive into analyzing all the characters you mentioned, but here's our previous analysis of Raphael mentions pre-Season 4 before they turned him into dirty sad dishwater.

[citizen-card]

who do you think was the most prominent yandere of the French Revolution?

finally, some real academic discussion.

Firstly, one would have to consider the definition of this term. Wiki has this to say:

Numerous personalities of the French Revolution have been shown to have used ‘violent and murderous’ means during some point in their career, however, the causes for this vary. In order to quality as a ‘yandere’, one would have to have to have used these tactics due to their obsession with a person they admire.

(Interestingly enough, these traits may be likened to the portrayal of Saint-Just in the film ‘La Révolution Française. During the film, he is portrayed as being incredibly antagonistic towards Robespierre’s childhood friend, Desmoulins. In order to maintain his own bond with Robespierre, he employs violent tactics against him - there is a scene in which he is implied to have hired people to beat him up, and he has a huge role in his eventual execution. However, this is a fictional depiction, and fiction cannot be said to represent reality.)

With that being said, Tallien brought a knife into the Convention and threatened to stab Robespierre with it on 9 Thermidor. Additionally, he supported the executions of Robespierre and his allies. He would subsequently become heavily involved in the Thermidorian Reaction, which saw, for example, the Jacobin Club being attacked (physically).

Why would he do this? Was it his fear of being executed himself? Was it the notion that allying himself with the Thermidorians would bring him political power? Of course not! Clearly, he was a character, usually a girl, who has an obsessive and possessive side in regards to their crush, ready to use violent and murderous means to maintain an exclusive bond.

Maybe I had to stretch the definition to reach that sort of conclusion, but it’s the best I have..?

[yamayuandadu]

In my opinion, instead of constant clamoring for Greek mythology retellings where largely or entirely villainous or monstrous female figures are reinvented as heroic, what we need is more media which acknowledges any goddesses from outside the conventional groupings of “main” Olympians (which is something variable, the version of the dodecatheon from Olympia had the personified river Alpheios and the  Charites in it , but that’s beside the point). Multiple of them actually have well defined, more or less consistent characters in myths and it’s mind-boggling that they are losing the quest for popcultural relevance with “what if Medusa was the central protagonist of Greek mythology” text posts. Off the top of my head, some good examples of such goddesses would be:

Hecate, who despite being portrayed firmly positively in her two main mythical roles, in the Homeric Hymn Demeter (where she helps Demeter look for Persephone and is later tasked with escorting her on her annual journey) and in the Theogony (where she aids Zeus and co. during the titanomachy), only ever appears as a villain in modern media, often with the point of reference being godawful new age literature or worse. The only two works of media which actually try to do something broadly accurate to her character in myths would be Theia Mania and, of all things, Touhou.

Selene, who basically doesn’t exist as a separate character in modern media because her gimmick has been reassigned to Artemis. To be fair, it’s been this way for centuries, but she actually has a plenty to offer if treated as separate. She has a very distinct iconography (lunar crescent behind the shoulders looks so cool), and at least according to Seneca a very warm relationship with her brother (in his Phaedra he fills in for her every now and then so that she can spend time with Endymion). There’s also a bonkers addition to the Labors of Heracles where she’s credited with raising Nemean Lion from the moon.

Iris, who acts as a messenger of the gods (or specifically Hera) pretty often, including during the titanomachy. She also has a unique genealogy, and an “evil twin”, Arke, who acted as the messenger for the titans and to my knowledge plays no other role anywhere otherwise. One of the only references to offerings made to Iris mentions cheesecake which one surely could turn into a personality quirk if the actual literary texts are not enough, too.

Eos, dawn, the OTHER sister of Helios, who persistently appears in myths indicating she was the one female deity sort of trying to keep up with male gods in the “romancing mortals” department. One of her lovers turned into a cicada because she forgot to ask for eternal youth when asking for eternal life for him which feels like it came out of a modern parody.

Styx, who I think basically is entirely forgotten as a personified deity in modern fiction, despite being portrayed as one of Zeus’ key allies in the Theogony, and as the mother of his various minor courtiers. You’d think a character as edgy as the personification of the arguably most famous location in the underworld would not be entirely absent from mythology adaptations but alas, she basically is. 

I would also like Thetis to not be portrayed as antagonistic in media, both of her highest profile adaptations in recent years essentially are. Thetis is the best character in the Iliad and I’d like to see an adaptation which actually keeps the scene where she brings Briareus to Olympus, but it feels like Iliad adaptations are often ashamed of having gods in there.

If you want to dig deeper, there are oddities like Malis/Maliya, a craftsmanship(?) goddess from Lydia and Lycia treated as analogous to Athena back at home, but seemingly as a river nymph in Greece (I worked on her wiki page recently).

[cemeterything]

omg please tell us about your first dnd character (if you want ofc)

so my first dnd character was a homebrew half-siren named Nephthys Varuna (Neph or Neff for short). they were a rogue (swashbuckler subclass) with a couple of charm spells at their disposal due to their siren heritage. in their backstory they had been the child of a lighthouse keeper who was seduced by a siren, who abandoned the resulting child at his doorstep when they were born. they had human siblings, all of whom were kidnapped by pirates along with them and their father. Neph escaped captivity by charming some of the crew and leading a mutiny against the ship's captain, and was able to free their siblings, but was unable to find their father and has been searching for him ever since. they also couldn't go home with their siblings as by defeating the pirate captain they inherited his cursed sword, Deadman's Cutlass, a sword that deals necrotic damage alongside standard piercing damage, making it incredibly handy in a fight, but also binds to the life force of its wielder, meaning they physically cannot be parted from it without it causing immense pain and eventually death, and which can only be wielded by the person who kills the previous owner (anyone else will take necrotic damage for every turn that they wield it in combat, or over a period of time if they hold it passively), making it a dangerous item to carry, and turning whoever carries it into a dangerous person themself due to the paranoia and defensiveness keeping it leads to.

Neph was the party's 'antihero' character; although they liked the others well enough they were the most willing to disregard conventional morality and ethics and go against the other members' principles in order to achieve their and the party's goals (at one point, for example, they tortured a merchant for information because it was taking too long to intimidate her - she was an antagonist, but what Neph did to her was still awful, and the woman lost several fingers to necrotic damage). this was partly due to their difficult history spent fighting to survive and moral outlook based on their life as a pirate captain, a role they were unwillingly thrust into but which they had learned to accept the dirty reality of, but also partly because as a half-siren they possessed some instinctual traits of an ocean predator. the rest of the party did work towards trying to put them on the path to redemption, and Neph did improve as a person over the course of our campaign, but they never entirely lost that darker side, and when our campaign ended they chose to join their siren brethren in the ocean as they felt they couldn't deny their true nature as a creature motivated by bloodlust and survival of the fittest, and took the sword with them below the waves where it would have less chance of falling into the wrong hands.

[heartfullofleeches]

After seeing the mention of a TV clown villain arc, I just had this idea: The reader is a VA who solely does villain roles in media, whether in films, shows, or even games. The yanderes are people who have had the pleasure to work alongside them, as well as fans of the series and franchises they appear in. They make an announced reveal of what they look like at a convention for one of the franchises, and reveal who they are with one of their lines from a game or show using the voice of that character, later followed by announcing their role in a live action as the main antagonist. Throughout the entire convention, and at the meet and greet, they flirtatious comments to fans and castmates alike.

Anyone who met you would agree that you were an interesting individual. From fans to fellow colleagues; none could describe a single instance where you failed so charm them, or were anything other than a delicate to be around. It was a stark difference from the roles you'd take up. Cruel, vile characters without an ounce of compassion. It was also a surprise considering the small fact that not one person could recall ever seeing your face.

In all your years down this career path, you kept your face and most of your personal life a mystery. A divide to separate it from your daily life one might say. Your bosses didn't really mind for the most part, and while it was frustrating for those who wanted to get close many understood. It just added to your allure for some fans - the unsolved puzzle of what the face behind their favorite voice was.

Fortunately, all didn't seem lost for your following. With the date of a convention on the horizon, you made a few posts hunting at a big reveal. One such posy even had an innocent picture of you lounging at home, your face obscured by your hand. The commentors were definitely in a frenzy over that harmless joke.

The day on the convention, you plan something.. special for your fans. The event starts off with casting calls for a few new projects. The franchise you're starring in was mentioned during. There were plans for a new cartoon, as well as a movie involving the voice actors; you obviously included. The latter news would be saved until after the meet and greet, where you planned on revealing your face, but not without some fun first.

The crowd kicks up in excitement when your name is mentioned. You walk on stage to give your few words of acknowledge - hood thrown over your face.

"Good morning, everyone. I'm so excited to be here and looking forward to meeting you all. Hope you enjoy the event, and what's to come."

In the surprise and excitement of your fans, you reach up to pull the hood off your face - a cry of disbelief coming from all who witnessed what hide beneath. Sporting a mask fashioned after an older version of your character; you wave at the audience. It covered the entirety of your face, but designed in a way that exposed the skin of your right cheek.

"See you all later." You muse, walking off to the end of the stage.

It went without saying that the diehards were beyond disappointed. They so hope to finally see that face of yours. Even those with the capabilities to pry into your private life had held off searching in hopes for this moment - and avoiding a prison sentence.

The crowds disburse. Some wondering to the various booths while others head to the already forming lines for the greet. Huddled off to the side, two fans talk over the announcement.

"There's still the chance it'll happen at the meet and greet..."

"I know, but- I really wanted to see their face now. They're the only reason I came to this event in the first place."

A bystander bumps into the more dejected of the two; the other party going to step out of the way - before a hand grips their shoulder.

"I wouldn't be too worried about that, dearest. Any good villain knows not to reveal their true form in the presence of the masses."

The voice is low, and mocking. Just like the character from a show involving a wicked royal. The same one splattered right the fan's shirt. They looks up. If it wasn't the voice, the jacket proved just who the person that grabbed them was. You smile back at them, the hood of your jacket slightly shielding your face, but enough for them to see.

"Hey there."

Their voice comes out in the smallest of whimpers. Was this real life? Their favorite actor- coming up to them. Touching them; showing them their face. This felt like a dream- yet a nightmare at the same time. One wrong word could completely ruin your view of them. The idol they worshipped greater than any higher power. On top of that, they can actually see you- and you're nothing like their wildest imagination could conjure. Absolutely stunning.

"I.. I'm your biggest fan..."

Still in character, you chuckle. "Really now? Well, we'll just have to see about that when I get to others."

They were the first one you came up to? Can they die now? Nothing in life could ever surpass a moment like this. Maybe they already had, and this was heaven.

Attempting to get the awestruck fan's attention after they fall into the pits of their own mind, you eventually wonder off to greet more fans.

-

It doesn't take long for news of you walking about to catch wind. Even going so far to reach your fellow costars.

Waiting for the second act to begin; the actor playing the protagonist bites down on their thumb - stomach churning at the thought of you with those filthy fans of yours swarming around you like hordes of maggots. They didn't waste all that time in acting classes; abuse their family's power to get this role, just for you to wonder off with those below them.

Their phone chimes. A new post from your fan page - showing off a picture one managed to get of you. They don't look at it for long. The arm around your waist makes them sick. They didn't even look at your face before they toss the device on the floor.

-

Finished with your little adventure, you head to the auditorium to prepare for the meet. The protagonist comes up to you as you fix your mask back in place; extending their clinched hand with a wave.

"H-hey! Y/n, right?"

You turn. You really hadn't met this person before, but they were nice from the brief conversations you formed. "Oh, hey. What's up?"

They breath through their teeth. "Ah, not much. Saw you were out meeting fans. Don't you think your coworkers should get to see what you look like first?"

A joke - despite the hurt in their tone. You fail to notice, stepping closer to you drop your voice with a laugh.

"What a look at my face? You'll have to defeat me, hero, or give me something of equal value."

The hum that follows your line has them feeling weak in the legs. They swallow the built up saliva in the back of their throat with a nervous chuckle. You playful tap their arm.

"Just messing with you. You'll see soon."

The actor stumps against the wall as you walk past to head to the stage. The pumping of their blood thumps loudly in their ears; heartbeat bursting through the hands that cage it to their chest. Working with you was going to be the highlight of their days - and the hopeful start to conjoining with yours.

-

By the time the event starts, the line doubled in size. A good chunk of the crowd had already seen what they wanted, but waited with baited breaths for another look.

[the-ravenclaw-werewolf]

I’m also interested in like other teams of villains viewing each other too. If you can pick which ones would have in this situation?

If you mean what teams would be (theoretically if done in this way) in the spin-off, then this is what I got:

Legend of Korra: The Red Lotus

Ouran Highschool Host Club: The Zuka Club

Death Note: Light Yagami and Misa Misa

Black Butler: Noah's Ark

Fullmetal Alchemist: Homunculus

Blue Exorcist: Illuminati

Hunter x Hunter: Chimera Ants OR Zoldyck Family

Kuroko’s Basketball: Tōō OR Rakuzan OR Kirisaki Daiichi

Attack on Titan: Marley Soldiers

Danganronpa: The Despair Sisters

Free!: Samezuka Swimming Club

Kill la Kill: Revocs Corporation

Haikyuu: Aoba Johsai

Food Wars!: Central Régiment de Cuisine

One Punch Man: The Monster Association

My Hero Academia: League of Villains

Mob Psycho 100: Claw

Kakegurui: Student Council

Demon Slayer: Twelve Kizuki

Dr. Stone: Tsukasa Empire

Beastars: Shishigumi

Welcome to Demon School Iruma Kun: Six Fingers

Toilet Bound Hanako-kun: Broadcasting Club

Jujutsu Kaisen: Mahito's Group

[lavathein]

What is season 2 about?

Beginning

Okay, I don't know, I really love Season 1, and I've watched it many times (and continue to do so), and it's a story that has heart and soul. It's very well-written, and all the characters have their paths and personalities. Season 1 shouldn't appeal to everyone; people are different, have different tastes, and different views. It has its own philosophy, and that's okay. If you don't feel like it's your thing and don't like it, okay, maybe that's how it is, and you'll move on. Especially since I've been a Loki fan for 10 years and didn't know what this show would be about. I was very anxious that they would ruin it, and when I realized there would be a romantic storyline, I was dismayed. But Season 1 is the best thing I've ever seen. And, of course, spending so much time with it and thinking about how you see it going forward - anticipating the continuation. And probably now I feel that it will remain forever. "For all time - Always" is ironic :)

1 Episode

When I watched the first episode, I was pleased that it continues everything from Season 1. And now it continues to feel that way to me. It fits so seamlessly into the continuation, and I don't even understand why it stopped? It's very atmospheric and almost mysterious, and I don't even know what else to say about it - everything is great. I'll only stop at two things - the Loom and Sylvie.

The Loom - I won't be dishonest if I say that this thing only appears in Season 2 because it's called the "Heart of the TVA" and is never mentioned in Season 1. I'm talking about that animated explanation from Miss Minutes, who would supposedly talk about it. I understand that it's a convention, but since this Loom plays the role of the "Main Antagonist" and literally drives the plot, it's probably the first thing I don't really like. It's as if it was never planned, but added later to have such a turning point. He Who Remains talks about the Multiversal War and countless variants, but it turns out that it's a bit off? Because it all depends on the Loom, which either works and protects one Sacred Timeline or overloads, and everything collapses.

Sylvie - Loki is looking for her, and actually, I always saw it just as it was shown. That is, exactly. And I liked how he goes into the future and finds her, as if it's a meaningful clue. Oh, Sylvie, looking for him, she's in the TVA, she's glad to see him. Honestly, it's like giving hope to Loki and the audience, as if they will come to understand and start working Together, and it's like a hint... The phone call that makes you think. I don't know, it's one of the most mysterious and favorite scenes in Episode 1. BUT.

2 Episode

I had some nerves before the episode. I love Season 1, and I always knew that there has to be a conflict after the Season 1 finale, and I really hoped to see it. Season 1 told this story as a metaphor. Loki's journey to understanding himself and the ability to love himself, to care for others, and not just think about himself and his selfish motives. And this journey in Season 1 was incredible. But the path should never be easy; it's challenging, and I considered the conflict - it's necessary to reach certain conclusions, and... Perhaps, unfortunately, the change in direction in Season 2 does lose or has a different vision.

I like the character of Sylvie, and thanks to Season 1, I understand her. Throughout Season 1, I never had the question of why she does what she does, what motivates her? All these were answered. In the finale, she loses trust in Loki because, from her perspective, he deceived and manipulated her all the time, and there's no understanding why he suddenly starts defending the Dictator they went together to stop. But she loves him, and as neither of them will back down, she pushes him away. She kills He Who Remains, and her mission ends - everyone is free. Really? For her, yes, that's it, but in reality, NO. There's responsibility associated with this that she didn't know about, and Loki was thinking about. At that moment, it's clear why she doesn't understand this. And it seems she should have a path to understand it? I think so.

Okay, the episode is quite mirror-like to Episode 2 in Season 1, and I liked it, although now it seems to be losing something. Loki and Mobius are searching for Sylvie again. Loki and Mobius have a conversation again, but now Loki helps Mobius understand some things. Actually, Mobius in Season 2, it seems, has his logical path, but it doesn't have the same impact and importance as in Season 1? He's more like a perpetually positive and slightly funny sidekick. Because, his best friend has a conflict and a problem, and Mobius knows about it but doesn't attempt to guide Loki? There's no sense of support, although maybe it's just me. I won't say that it's completely absent; it just seems less noticeable and important than it was in Season 1.

Hunter X-5 or Brad Wolfe - he's a new character in this story, and when I think about him, he seems interesting, yes, he's a well-written character, but... What was he needed for? Okay, he's the one through whom they find Sylvie; he's a TVA agent who wants to live on the timeline, and this desire is the main and overly important thing. He's almost obsessed - I just want to live. The interrogation with Loki and Brad, I kind of like it, incredible acting, but for some reason, I get the feeling that something is missing. It's a performance, and you know that this plan was devised by Mobius? Loki doesn't know how to make a person talk... It's like something's not quite right here?

Sylvie - she's on the timeline and has the new life she wanted. And actually, I didn't see a problem with that. It was always her path, and she did it, but again... It seems to have ambiguity. Okay, she freed everyone and considers that it's all over and that she was wrong in trusting Loki and thought that the TVA was done, and she would never see it again. And I really liked this shot:

Visually, it's very informative, and I liked that. It seems to depict the separation between them. The heavy and gray cash register between them, the dark line also seems to reflect this barrier. On Sylvie's side, there are comfortable warm colors, while Loki, as something cold and dark, returns with past problems. He appears and disrupts the comfortable bubble in which Sylvie has enclosed herself. For me, it seemed symbolic, as in Season 1, he also somewhat suddenly appears in her life and disrupts her plans by inserting himself into them. It was intriguing. Honestly...

But then they have a conversation. And it's genuinely tense, and I can only ask, what? Sylvie doesn't chase him away and agrees to talk – so she wants to talk? Okay. The first thing he says is, "I'm the last person you want to see"... Wait, wait, so you saw her in the future, in the TVA, and she was glad to see you, and you say this? For me, it's a bit awkward because the sense of knowing the future is somewhat lost here. He should have had more confidence if this was to happen, right? It's one thing I don't like because it's challenging to move on from this. He says, "The TVA is in danger" to a person for whom the TVA has always been this danger. Indeed, Sylvie confirms that he has always been on the side of the TVA, and it's not going anywhere. Now it looks very uncertain, actually. Okay, it's a barrier, and something needs to be done about it further? When the fight scene with the TVA agents happens, and it ends in failure and even more disagreement. Like obstacle after obstacle.

I'm not very fond of revisiting Episode 2 as it seems very tense and not very comfortable for me. It's not like I can explain it; it's a genuine feeling, and maybe it makes sense because I probably feel something similar to the characters. Their tension, pain, and sadness seem to transfer onto me. Maybe that's okay?

3 Episode

This episode is probably one I both love and dislike simultaneously, especially when I know the finale, and I probably don't understand most of what it's talking about. Initially, when I watched it, I was a bit disappointed, surprised, and pleased with one moment. What I don't like at all is the focus on He Who Remains, Ravonna, and Miss Minutes. And if it didn't matter, I wouldn't have questions, but does it? Let's look at each.

Viktor Timely - a variant of He Who Remains, and he's needed for two things. First, he's needed to assist the TVA because he's a variant of HWR, and he's needed for Sylvie's growth. I actually like this part. Kang's variant, Loki, and Sylvie find themselves in the same place again with a moment similar to the Season 1 finale. I liked this scene because it revealed Sylvie's motivation, that she decides to return and help with the problem. She confronts the past. Their conflict with Loki has a continuation - she thinks he wants to bring He Who Remains back to the TVA, and this angers her. And it's understandable. But Loki is not involved in this, and Kang's variant is not the same He Who Remains. The conversation is about freedom of choice, and she understands she can't do what was done to her. Later, she stops and trusts Loki to take Kang, making an important step for herself. Actually, Sylvie's part is one of the best in the episode. But now I feel like it stopped here, and that's bad...

Ravonna and Miss Minutes - in Season 1, her last line was "I'm going in search of Free Will," and here we get a full continuation. She works with Miss Minutes and acts according to He Who Remains' plan. Their task is to find his variant and literally create HWR. That's what they do. HWR have something in common - they hate the Partnership. And if at some point it seemed to me an interesting detail and parallel, now I don't understand its impact. So they always repel everyone... Okay, and? Well, they're always alone, and it suits them, but what else? There's also a small triangle between HWR, Ravonna, and Miss Minutes. HWR and Ravonna seem to like each other, but in the end, He Who Remains betrays Ravonna very quickly - it was actually funny. And the AI Clock turns out to be a bit strange and in love with Kang? Again, I don't understand what it was for...? In the end, they all betray each other. It's funny.

But what's worse is Loki ending up in the background altogether? I mean, they, with Mobius, went to look for Ravonna, and they are running after them the whole episode. Loki has the same conversation and scene with Sylvie. Mobius encounters Ravonna - they have two conversations. The first where Mobius offers her to come back, but she firmly refuses with a clear NO. And the second where Mobius makes a second attempt - but it's futile and final. There seems to be no way back, it's all over. And that's it... I don't know, Ravonna seems to exist in this plot, but what she does... What does it affect? The emergence of He Who Remains. But her task was simply to give him the TVA handbook. Could Miss Minutes have done that herself? Ask anyone? I don't know, it seems so unserious now. Again, it's like they left her in Season 1, and in Season 2, they didn't know what to do with her... Also, she has a conflict with Sylvie, which ALSO goes nowhere? I thought maybe they would explain Sylvie's Nexus Event? No. Sylvie just accepts that the obsession with revenge is not good and sends Ravonna to He Who Remains in the Citadel. There, Ravonna learns that she was once Kang's partner, and then he betrayed her and wiped her memory. Okay, and?

Sylvie and Ravonna also have an interesting confrontation that can be called Chaos versus Order. I really thought we were moving in that direction, but unfortunately it's also just a good detail that stops there, unfortunately.

4 Episode

I'm going to write right away that this is the best and my favourite episode in season 2.

The whole company gathers to fix the Loom. In fact, they managed to fit all the characters in this episode. Loki, Sylvie, Mobius, B-15, OB, Casey, D-90, Victor Timeley, Brad Wolfe, Dox and her Minutemen, Miss Minute and Ravonna.

And I actually like this episode, but I want to step back and say that the strangest thing about season 2 is that they want to show TVA as something good that can stand up for itself and that the people in TVA are good people. And I don't know - it's such a contrast to season 1. Do we remember that literally all of them are murderers and TVA is a high-security organisation? In fact, knowing that these people have committed a crime and they have this attitude sometimes is not just a cropped timeline - it's the murder of millions of lives. It's not just lines and numbers on a monitor. In fact, when Sylvie mentions this, is she right? She has every right to doubt TVA and points out the main problems with it. But in the show, it looks like - Yes, they may have done badly, but they are actually all good. As for Mobius, he is an agent of TVA and he also killed, tortured variants. He's just "He who sees the light in the darkness" - that's actually perfect for Mobius. He's kind and even when he cuts a timeline or a variant, he did it with respect and it was shown more than once in season 1. He talks to a child whose home is about to be destroyed and he respects and reassures the variant. He doesn't allow people who have lives on the Timeline to be mistreated. Do you remember D-90's behaviour? In season 2 he's already good and it's a bit sudden? I mean, if I'm someone from TVA I have the right to not give a damn about the variants, but if I'm a variant then oh, I won't do that anymore, I'm good - I think it's so WOW it was fast.

I like that they mention it, but I don't like the way they approach it at all. Because Sylvie is the one who talks about it, but it's made to sound like she's very rude and wrong and she's the problem in this. Not quite the right accents - I would call it that. Loki, by the way, also didn't have particularly good memories of TVA and the only one he had confidence in was Mobius. Now he trusts everybody very quickly and again, they're all suddenly very good compared to what they were in season 1. It's not really that easy to change and in that respect the script has a weakness to move and get Loki out of TVA very quickly.

Perhaps Dox and her minutemen, as well as X-5 or Brad Wolf were chosen for this purpose. Because they are the only ones who do not agree with the changes in TVA and believe that it should continue. But is it such a small number? In episode 1, Mobius mentions how hard it is to realise the deception and that everything you did was not what it seemed. And I think such themes are added - well, but in fact they are not revealed at all and it all comes down to a simple solution. Yes, the show is about Loki and his growth, and that's the problem, because you have to work not only with Loki, but also with the other characters, his relationships with them and other themes in the show. What I have never liked is such an interesting and large-scale topic for a series of 6 episodes about a very complex and multi-layered character. This is why both season 1 and now season 2 suffered from it. It's sad because having more episodes would have been much better for such a series. And season 2 is too overloaded and in my opinion it doesn't manage to cope with it, especially when it comes to relationships and interaction with the characters.

Ravonna and Miss Minute return to TVA with the goal of regaining control. And they want to team up with Dox and her team and Brad - how did they find out about them and why them? It's a convention, but there was an option where Ravonna and Miss Minute could have proposed their plans to the whole TVA and then it would have been even more of a threat. Some kind of rebellion? More problems? These are my thoughts on this. The scene is generally one of the most violent. Because Brad is obsessed with living his life on Timeline and he's willing to commit treason and do almost anything to get what he wants. Dox and her minutemen disagree - suddenly, and the conversation with B-15 may have had its weight. And they all get killed very brutally - what was I saying earlier - that TVA isn`t a good organisation and all these people are not good? Ravonna unemotionally deleted Mobius (her best, friend, or even more) and now - which is good, what Ravonna does is consistent with her character. And Miss Minute, with her horrible and joyful smile? That's what TVA was and it's no wonder Sylvie, who suffered the most from it and hates and distrusts it all now - right?

The most interesting for me, as always, are Loki and Sylvie. In this episode, they interact the most, even work together and have a VERY important dialogue. And I really hate to think that this dialogue is Progress and that it stops there. I won't dwell on the full dialogue, but for me it was a hint and a meaning. "We are Gods" - I'm not even talking about the fact that they were supposed to be together in the finale, okay? First of all, it's Loki - he finally speaks about the Gods in a different way than before and realises the great responsibility and burden. I was waiting for this. And he makes a lot of things very clear to Sylviе here. The real problem with her is that the writers didn't know what to do with her, didn't they? Like the fear that she might get in the way of Loki - for me it was not a problem and she never seemed to be a competitor. Her interaction with Loki made sense. In season 2, they're afraid of that, so they seem to do everything to keep her away from him - some people like that, I personally don't. I was waiting for it as a continuation of season 1 and I liked it there, and of course when I see that a character is artificially removed from the path, it's noticeable and annoying, even angry. (This is one of the reasons why for me season 2 becomes a separate story, and not a continuation of season 1) Sylvie achieved one purpose and it was complete in her opinion, but there are consequences. And in my opinion, Sylvie doesn't quite match the person she was. And this is too big a conversation and it's better to talk about it separately. Loki hints to her that she is really a God - Sylvie had no life in Asgard. And Loki reminds her who she really is. And she thinks about it. I like that. And it's a real shame that after this episode, it's stop. Because I thought that her goal would be to learn to take responsibility and learn to be a God, just like Loki. Perhaps this is left for the future, but this is where some development stops. I'm not going to talk about their relationship anymore, because like Sylvie's character, the writers have rejected their romance and leave it as a subtext - which again goes against the grain of season 1. And this is simply explained - they don't talk, they don't try, they are afraid to remember the events of season 1. These are not the same characters - it's the authors of season 2 who are afraid of this topic. And this is a problem. It's a disadvantage. The integrity of what I was most afraid of is being destroyed. That's why it doesn't work as a sequel.

Loki and Sylvie are also finally working together. It reminded me a lot of season 1 and it was nice. Although, in my opinion, the intrigue with the scene of the elevator and the phone was not as significant as I first saw it. In general, I am a little sad because of this - I still hoped that it would be of great importance. But the scene is good.

The finale of the episode is very intriguing. And actually, something starts from this moment.

5 Episode

From this episode, things start to go differently. I don't mean badly - just in a different way. The first time I watched it, it upset me a little. Let me put it this way - Season 2 has a very tense atmosphere, all the time. Maybe it's just me, but I really get a sense of fear, nervousness and desperation from the characters - especially Loki. I'm used to him as quite optimistic, and I like how he's always looking for a way out, smiling and having fun, he's still the God of Mischief. Season 1 had a rather warm atmosphere and probably I could see such open and special emotions from Loki only there. In Season 2, he's really desperate and sad… He's really stressed. In the 5th episode, Loki's most painful topic is touched upon - the fear of being alone. This has always been his problem from movies and shows. I always wanted him to finally break the system and overcome it, find friends and love - which is what happens in season 1. In season 2, he loses it… I mean it goes as an ironic sequel, although I think it's a bit artificial again, especially when it comes to the lack of dialogue and trying to understand each other with Sylvie. Also, people on TVA are friends or found family. Maybe Loki just doesn't feel alone with them, maybe he wants to reassure himself because of his selfish motives, but it doesn't feel like "family" to me. Mobius and Sylvie are definitely important to him. But with the others…weak, because they are not brought together for Loki, they just have to fix one problem. Artificial circumstances that bring them together. And also family is not that one wants something for them, it is when it is mutual. I don't think Casey, OB, B-15 could even do something like that for Loki and care about him so much. They have a respectful and good attitude, but that's just normal. In this regard, season 2 is also not very strong. But at least Loki was able to feel himself with some company where he is respected.

Loki and Sylvie have probably the saddest dialogues and scenes in the episode. Maybe it's on purpose, but when they can't talk about anything but TVA and Free Will for the whole season, it starts to get annoying at some point. They have no dialogues that would concern them. Their romance literally rests on the shoulders of the actors who play these emotions - the acting work in the season is incredible. Sylvie and Loki continue to teach themselves and help in something - but not in their relationship. Loki understands that he is acting selfishly, and Sylvia that she is wrong and Loki is right that without TVA everything will begin to collapse and die. In fact, the episode is about Loki, because everything that happens in it eventually goes back to episode 4. But as for Loki, he learns to control the slippage of time and understands his actions. And they also think about the important thing that will play a role in the final. I don't know what the episode was supposed to be - Yes, it was rewritten several times and the last one was rewritten over the weekend. The original Episode 5 was scrapped, even though it was considered the team's best. Now I wonder what was supposed to be in it, because I'm not kidding, it really stands out after episodes 1-4 and it's noticeable.

6 Episode

I've been with Loki for a very long time and I probably will never stop and for me it was a powerful and very sad and tragic ending, but it makes sense. What Loki does is incredible and powerful. One can only be proud of him. In my opinion, the finale could have had a stronger and more beautiful moment, if Loki in season 2 had not destroyed everyone and remained alone - yes, he distances himself from others, he does not even trust anyone with what is really happening. He does everything himself and makes decisions himself. On the one hand, I understand this idea. But for me, it would be better to strengthen all relationships, understand and realize what it is really like to have all these people and to be someone for them. Especially regarding Sylvia - for me it is a special blow that he went to this victim without understanding his relationship with her, without reconciling - there was no dialogue. Nothing happened… I will never understand this and this makes this sacrifice too painful and tragic for me. These are my thoughts on this. I understand what the creators wanted to say and it has the right to exist. I see it differently and again I am focusing on season 1. After the finale, I generally have to force myself that these are different stories… Because it's just too painful. I'm not saying that they were necessarily supposed to be together - no, but their conflict is not resolved. They never understand each other. It's just no way. I have already explained why this is, so what we have is what we have. Regarding Kang… I didn't like the scenes in the Citadel and all that. It worked really, really badly for me. "Do not disturb and disappear" is not just a reflection of how they did with Sylvie in the season, but also seems to relate to season 1 and those who worked on it. It's like mockery and mockery. I especially don't like this whole scene and the way it's done. I am not talking about the fact that it is impossible to agree with Sylvie… Loki can travel in time and stop him, he literally endlessly fights with her and does not speak, does not move until they are in the Citadel - I understand the meaning of that that she wouldn't back down, but Loki would really like to Leave the Sacred Timeline and all that. That is… To have a dialogue with Sylvie is to be able to think about it, to try to find other ways. I wouldn't even say that ultimately killing Kang is a mistake - Sylvie is right and Loki has always agreed with that. The first time he stopped her because he didn't know the consequences and he didn't like the prospect of being trapped. Now it is lost. More about Citadel here: 6 episode

In conclusion, if you describe it - Loki remains alone. Loki loses. But the main thing is that Kang loses. Loki wins by giving everyone a chance, Sylvie is okay, and his friends can live the lives they lost. This is a sacrifice for their sake. And the throne on which he sits is a burden, without glory. I somehow knew that this final would be like this, maybe I would like the path to it to be different. Again, the whole season is very sad, tense and seems to get worse the further it goes on. Loki is a favorite character and if you enjoy watching this suffering, then maybe so, but not me. It is very sad. And it is still more difficult for me, as questions and conflicts remain unanswered. As a misunderstanding. But let it. The finale is beautiful, deep, tragic. He is good. I may not have had enough emotions, because once again everything was as sad as it was and there are no emotional jumps like… You just fixed everything and got it now… You have to make a sacrifice and lose everyone, but for their sake - for me it would be for the better All the same.

Sylvie and Mobius are left without Loki. Mobius finally takes a step and leaves TVA to see the life he lost. And now he can live it all over again, he can do whatever he wants. A rather logical conclusion for Mobius. It was good. Sylvie - I don't know, but really I'm so angry that her role is so weak, I already explained that it's very artificial and all so that she doesn't interfere with Loki, because if they reconciled they would work together and so on… Well, weak and uncertain , very The fear of recalling some topics and dialogues from the 1st season is so lost. Very frustrating. Truth. And I can only blame the writers. I will never forgive this. But to sum it up, it is more likely that her development and the path to who she really is, the Goddess and what She is Sylvie, and not just the Loki option and obtaining a new Glorious Goal, were left for the next projects. I wish that in the end she either got to Loki or saved him, because he really deserves some kind of reward, doesn't he? Maybe there will be a chance, because after all, their unresolved issue is such a strange decision… Or it makes sense. Maybe? Let's see where she goes next. But she still has to develop and develop, because she is at the very beginning of her journey. And Loki gave a chance to fight. So please.

Completion

Season 2 of Loki was good. Unfortunately, it will not become the same for me as the 1st season. They tell slightly different stories and about different things. As for Loki, it's very good and I can really be proud of his path and development. Although too tragic and sad, but beautiful. Mixed feelings. And I just want to make some things better so that it seems like a perfect continuation, so that everything has a logical sequence, so that there are no questions about why this is, why it is the way, why, and where did it disappear, why is it missing. A lot of questions. They are simply there - that is, it indicates problems and they are noticeable. Everyone has their own priorities, so opinions on any movie or show should differ. I am expressing my own. And if it doesn't suit me, it's not necessarily that someone will have the same feeling. Everyone is different. And there are only One things that cannot be forgiven and for which this season SHOULD be scolded - the intentional cleaning of some things. This is. This is a fact and it will never be right. There will never be an excuse. Each character, each thing should have weight - the worst thing is when you can remove someone or something and the result will be the same - this is immediately bad work. And in the 2 season it is, unlike the 1st. This was the 2nd season of the show "Loki"

[actofgrxce]

Why I still think Ed Teach is a sympathetic character

1) He doesn't know the full story of why Stede left him; as such he fills in the blanks with the worst case scenario (the one he addresses to himself in the Gravy Boat): "I am unlovable and I hate myself; it makes sense that he would abandon me."

This has already been articulated brilliantly HERE. The reason for this knee-jerk reaction? Trauma, trauma, trauma. Keep reading.

2) Ed didn't have some of the social advantages Stede had as a child, when their respective fundamental outlooks on the world and human relationships were being established (NOT to establish a "who had it worse" discussion, but to explain that it will create two very different adults).

'Stede had a fucked up childhood and ended up kind!" Yes he did, but he also had his basic needs met, he was white and affluent and passed as straight (for a while) in a Europe that implicitly rewards those identity markers, his life was not constantly endangered by a violent substance abusing parental figure who was also the only breadwinner, and he never had to live with committing the murder (while still a child!) of a primary caregiver in order to stay alive. Stede learned to play a role--that of the placating, cultured and witty gentleman-- in order to obtain safety (within the nuclear home, and within the conventional European gentry as an adult); he still does this. Ed, on the other hand, learned how to destroy the source of danger at all cost; pair that need to always seem scary with his positive caregiver (his mother) telling Ed quite unequivocally, "we weren't mean for fine things," and the violent, thrill-seeking, substance-abusing monster who results from this is no surprise. Ed's playing a role, too. Is Stede braver and kinder? Yes, and it could be that a great deal of that is inherent, but we're not arguing who is the better person, because not all sympathetic characters are good people. We're only dealing here with whether Ed is worth our time: whether he is still redeemable.

3) There are different KINDS of trauma response; Stede is Fawn, and Ed is Fight.

See above. Fawn responses look like overly placating everyone even at your own expense. They look like doing favors, compulsively centering your identity on helping, pleasing, assisting. Fight responses look like aggression and hostility, denying any trace of vulnerability or guilt, going on the offensive before your perceived "threat" can go on the defensive.

4) The biggest reason: this has always been who Ed, as an adult, is, and the Larger Narrative™ is being told from STEDE'S POV and perception of Ed and of the world of Piracy. The audience is in Stede's shoes. To quote @captainbonnetslog , "And [ Ed's ] always kinda been like this just minus the suicidal tendencies. The show is kinda developing with Stede. As his naivete fades we see darker things with more nuance." I suspect each season will reveal an Edward Teach of greater complexity. It's not just Ed, either; we sense greater depth and complexity in the personality and motives of the entire og crew (particularly Oluwande, Jim, and most notably, Izzy). The season opens with Stede's (rather charmingly, like our own) naive and romantic fantasy of killing Izzy on a beach at sunset and dramatically rushing into damsel!Ed's arms, apologizing and being instantly forgiven. It's not like that in his reality, or anyone's. Relationships are messy. We're meant to see the worst of Ed. We're meant, if we identify with Stede (who is the best of us all), to love Ed anyway. 5) Related to the above: the INCREASED sympathy we feel toward Izzy Hands, one of the previous antagonists, is a brilliant way to open our eyes to the more nuanced problems in the Ed, Stede, and Izzy triangle. It is NOT a reason to feel LESS sympathy for Ed.

it just means that Ed has hurt Izzy as much as Ed has been hurt, and as much as Izzy has, in jealousy, hurt Stede. Hurt people hurt people. Each viewer will sympathize more with, to return to point 3, a different specific character's way of coping (or failing to cope) with that pain.

[slpytired]

Watching the whole Gundam series in 2023 #3: Mobile Suit Gundam ZZ Review

Mobile Suit Gundam ZZ was directed by Yoshiyuki Tomino and ran for 40 episodes from March 1, 1986 to January 31, 1987. Set in the Universal Century year 0088, it is a direct sequel to Mobile Suit Zeta Gundam. The plot follows a new Argama crew made up of young space junkers after many of the Argama's fighting forces are depleted after the final battle of Zeta Gundam, as they battle the forces of Neo Zeon, led by Haman Karn.

I had heard that Gundam ZZ was somewhat of a black sheep in the Gundam franchise for its jarring tonal shift, being a lighthearted and comedic series after the dark and brutal ending of Zeta Gundam. Neverheless, I approached it with an open mind and hoped I would not be disappointed.

For the first half of the series, the tonal shift is indeed quite abrupt, and the show relies heavily on slapstick humour and the general immaturity of its young cast. There were many moments where I felt really exasperated with how ridiculous some of the antics were. Both the protagonists and antagonists were laughably incompetent and silly that I couldn't really take the series seriously. However by the halfway mark, the plot started to pick up and the tone settled into that of a more conventional Gundam series. One could even forget that the first half of the series was somewhat infuriating to watch. However what I feel that Gundam ZZ did well was impressing onto the audience that its cast of young pilots really are young. They get into petty arguments, tease each other, and generally behave like the teenagers they are, not just in the first half of the series but all throughout the show's run. This sort of calls back to the original MSG, which also featured a young cast of characters. Perhaps what Director Tomino was trying to explore was the tragedy of young kids having to fight in a war, plucky and spirited as they might be.

I felt that Judeau's development as a character was very nice to watch. He was the first out of the Gundam Team to start seriously considering the war and his role in it, thanks to his sister. Over time, he became a real leader of the Gundam Team, influencing his friends Beecha Oleg and Mondo Agake to take their roles more seriously as well. I also liked Elpeo Ple and Ple Two, and how they sort of mirrored the Cyber Newtypes Four and Rosamia seen in Zeta Gundam. (There's just no end to tragedy for Cyber Newtypes, though. Elpeo and Ple Two deserved better ;-;)

Overall, this series is a 7/10.

[cto10121]

I haven’t read the books in a long time so I don’t have a solid opinion on Rosalie but I get how annoying it can be at times when people like a character too much that was purposefully written to be a petty bitchy or antagonistic/villainous for one reason or another just because they have moments of being sad or have a sad backstory that explains their crappy personality and think that automatically makes them interesting,complex,relatable, and better written then the protagonist when sometimes the bitchy character in question is uncompelling at best and at worst and the story gives you a solid good reasons for why you find them to be obnoxious. If they not entertaining to me, or have little to zero good qualities, or do things that piss me off then why should I care about them?

Yeah, definitely. Although in the case of Rosalie, it’s not the character I’m annoyed about. Her character makes sense, her role in the narrative is written just fine, and actually has reasons for why she is the way she is without suddenly changing their established characteristics.

What I’m annoyed about is the fandom’s irrational worship of her and belief she has been “done wrong” by Meyer and the narrative. Except that she gets a super sympathetic backstory and she and Bella come to be allies and true sisters in the last book (!!). Rosalie got away with literally everything. So why the fandom is so precious about defending her when Meyer herself is the one who gave her actual sympathetic motives is unclear. It’s giving Bardugo and Zoya all over again.

All fandoms develop what I call myths that are not really rooted in anything canonical. And I think the fandom thinks that Rosalie is meant to be Meyer’s psychological bashing of a conventionally attractive basic rival to her Not Like Other Girl(tm) protagonist. Woman-hating disguised as traditional gender role bashing, as it were.

But Rosalie’s dislike of Bella (beyond the initial gut reaction of being annoyed that Edward was attracted to her) is really just an envy of her mortality and of Bella’s wishes to become a vampire. Nothing to do with Bella herself or even competition about looks (there is no comparison, at least in Rosalie’s mind). Rosalie even has at least one tomboyish trait—she is a mechanic who likes cars—so not even that holds water.

So based on this clownery fans overcompensate and become Rosalie stans, to the point of victim-blaming Bella. That, or some fans really are as petty, shallow, conventional, and superficial as their fan favorite and are beyond miffed at seeing them portrayed negatively. Some people in real life are petty, shallow, and superficial, after all.

[datastate]

if i could alter some points of death note... i'm just musing here. [cw spoilers, of course]

i think i'd still keep the choice of light's misogyny, but with more intention behind it irt misa's storyline especially. i feel that his misogyny is the stepping stone which lends itself to some of his other arrogant beliefs, and could be utilized very well before we know who the second kira is.

from the above, i also think it's extremely interesting to make misa reprise her antagonist role at a certain point (likely after ryuzaki's died). there's also something to be said here about misa giving him her stage name rather than her actual name. with her parents dead, and perhaps going so far as to kill the ones who used her given name, light is at a disadvantage that he hadn't even considered when misa's idealized version of him inevitably crumbles before her (at his willingness to kill his own family, that sudden realization of his "lack of humanity"). in this sense, she's the only one that can save him, and though it initially pains her, she realizes he's lost the true meaning of "justice" and she's the one who has to pick up this mantle.

additionally, though this isn't really necessary, i think it'd be interesting to see some of soichiro's difficulty in accepting light to be kira specifically under the depiction of light as his daughter... specifically to emphasize the general view of (asian) girls being innocent, as well as that fatherly protection + the dissonance ryuzaki experiences, generally detached from social conventions to come to this conclusion so readily. (& not required, but some notes here and there on ryuzaki's unexamined genderless thoughts as stemmed from how he'd grown would also be fun...)

and so on. if i can remember more of these miscellaneous ideas, i'll add them on sometime later ^_^ <3