#to the same effect of the character haters

[pettydisco]

🪿

[carcarrot]

old man yells at cloud about constant sequels

[touchlikethesun]

one thing that always strikes me as odd in a fic is when one or more of the side/non-pairing characters are… like super extra supportive of the main pairing. like idk how to say it but like there’s a difference between how people support their friends and want good things for them in real life, and like shipping your friends together. it won’t ruin my overall enjoyment unless it really does come up a lot but like it really pulls me out of a fic

[honestlyitsjustsam]

[rockpaperimpala]

So about Netflix's the Last Airbender....

I am literally so confused you guys. You made me think I would HATE this show. And I LOVED it. Me. Known perfectionist and hater.

Katara was lovely. Yes, she started as a more soft spoken character than her cartoon version, but she was still passionate and hopeful throughout, just visibly unsure of herself. I think people were thrown off by this actress' natural way of expressing herself, which is Different from animated katara for sure, but not bad. Then she spends the whole season growing in Confidence and Fire. I Adored her fight with Paku, it really did feel like a payout of the whole season's development, and the bending kicked ass!

The Bending Kicked ass!!! The martial arts was fun and fast and creative and exciting! It looked SO good. That alone would be enough reason for me to watch and enjoy any show.

Zuko's actor was fantastic. He really captured the rage and confusion of this 16 year old banished prince. And there were so many Added moments between him and Iroh wich to me enriched their relationship. Like YES! This is why I'm watching, to see more of them, to see things done a little differently.

Iroh facing the consequences of his actions at Ba Sing Se!! That's what I'm here for!

Zuko's relationship with the men on his ship! That's what I'm here for!

The Extra layers we get to Ozai manipulating his children!

Also no one is talking about Admiral Zhao, who I had SO much fun with. I feel like they slightly fleshed out his character in a really dramatic way, really developing the hubris and frankly insane grasping ambition of someone who would kill the moon. I completely enjoyed this wilder, less controlled version of him, who comes up through the season from basically nothing and no one!

I am OBSESSED with King BUMI and his anger and disillusionment with the world! Like this was SO real. Living a hundred years of futile war would do that!!!! It is one of my favorite changes to the whole series. This new layer of emotion and character depth is what I'm here for!

Sokka was SO funny. He literally had me laughing out loud so often. That actor GETs Sokka, and GETS the way his humor is delivered. And is also able to tap into the more vulnerable side of him. People said he was "obsessed" with leadership. WHAT? That is a young person trying desperately to do his best and to try and find his place in the world, to figure what he has to offer. I loved his pride at hearing the Mechanist say that he would make a good engineer, and the sweetness of the moment that Yue's father says that he can be a hero without being a warrior. Sokka does so much growth in this series, in understanding himself and life.

And his chemistry with Suki was adorable!! I even like him and Yue (who was a totally unexpected sweetheart, despite her terrible wig)!! Like he has that same ability that Sokka has in the original to Connect with people.

Aang was great! He WAS fun loving and sweet and funny. I don't know what you guys wanted. Cartoons are always bigger and more exaggerated than live action. People's eyes swell up an, birds fly around their heads, and there are funny sound effects. That larger than life quality is the strength of animation! You have to look for different strength in live action. Like the SUBTLETIES of the acting choices. This little actor brought so much kindness, innocence, and strength to Aang.

And I FELT his frustration at being asked to do this at 12, his fresh hope anytime it looked like someone more experienced would be able to help him and no one did, and that's why he didn't learn waterbending this season, because he kept waiting for an freaking ADULT to show him the way, to help him carry this immense burden, but every adult he meets asks him for help instead, asks him to carry it himself, and then the finale hits and he realizes that there won't be any adults helping, he does have figure this out himself, and he makes the hard choice, takes on responsibility more than his years and offers himself to the ocean spirit, and he might have been lost entirely if not for Katara!

And that counter running theme to the show pays off: that he doesn't have to do it alone. He may not have more experienced guidance, because the adults have let him down again and again, but his friends will be with him, and they will figure it out together!

This is there throughout the series! Katara tells him this about learning waterbending, when he says he still wants to wait. Bumi tells him this in the palace at Omashu, and Aang sees the faith he has in his friends repaid!

I like these changes! And the show still found time for silly fun adventures and character building moments.

The show was never going to be the animated original. That is already a Masterpiece, and it frankly did NOT need to be adapted at all. I did not WANT a live action adaptation. I was adamantly convinced I would hate it. But the changes that they netflix show gave are what I Iike most about it. If I want to see Zuko say "you rise with the moon, I rise with the sun," I will go watch the animated original, because that version is perfect. And now, if i want to see Zuko say "Lu ten would have been proud to have you as a father," and see iroh pull him into a tight hug, I can watch this live action version, which is very good too. I'm going to disagree with most of the people on here and say that the Netflix's Avatar: The Last Airbender, DOES capture the heart of what we liked about the original show. It's spirit, fun, excitement, and characters. And the changes made are the reason we should be watching.

[angelsknifeprty]

streamer!ellie hcs ⋆⭒˚｡⋆

a/n: this is more focused on ellie and less on ellie x reader but i am for sure gonna follow this up with something else more focused on the both of you >:3

warnings | mentions of weed, the smallest hint towards struggling with eating if you squint

word count: 698

do not buy tlou | ways to help palestine | operation olive branch

𐙚 ‧₊˚ ⋅

 ‧₊˚౨ৎ started off posting unlisted videos of her playing games with the stupidest, shittiest editing ever for you and her friends to watch and later decided to give streaming a try

‎ ‧₊˚౨ৎ starts off her twitch channel as a faceless streamer but does a face reveal when she hits a big milestone

‧₊˚౨ৎ has the creeper mini fridge for sure!!

‧₊˚౨ৎ has a ginger cat named garfield that she exclusively calls garfunkel on stream because her viewers made fun of her for garfield being too unoriginal

“guys, what do you mean it’s unoriginal, look at him. that’s literally garfield, the real deal. you’re all haters.”

‧₊˚౨ৎ plays a bunch of different games: minecraft obviously, fortnite, roblox (and argues with kids on there, you can’t tell me any different). also loves fnaf, elder scrolls and resident evil

‧₊˚౨ৎ more on her liking resident evil, i think she’s not super wimpy when it comes to games like that but she HATES the regenerators from the re4 remake (i’m totally not projecting…)

“i am NOT a wimp, but look at their freaky fucking arms!! and they have gross little butts too, that was not a necessary choice for the character design.”

‧₊˚౨ৎ she does find it funny when she kills them and they jiggle as they fall on the ground though

 ‧₊˚౨ৎ i’m throwing it in here that she smokes weed because i simply cannot help myself teehee :P

 ‧₊˚౨ৎ she does more chill streams of her eating n stuff as a way of comforting her viewers so they can eat along with her )):

 ‧₊˚౨ৎ and in turn chat always spams her with comments to drink water because that girl survives purely on energy drinks to combat her sleepy girl syndrome

 ‧₊˚౨ৎ abuses the soundboard so heavily, loves using a sound effect of an audience clapping and cheering when she tells the most painfully unfunny joke

 ‧₊˚౨ৎ she is ABSOLUTELY a jerma985 fan

 ‧₊˚౨ৎ loves putting her fans on blast and reacting to edits of her on stream and finds it so funny (especially the ones that have the reverb fart noise just randomly slapped in there, she thinks it’s peak humour)

“you guys think i don’t see this stuff? i have eyes everywhere. y’know what though, you guys are actually really talented.”

 ‧₊˚౨ৎ wears stupid t-shirts that say stuff like “i paused my game to be here” (omg i just found one that says “gamers make better lovers, they know all the right buttons” she would absolutely wear that)

 ‧₊˚౨ৎ she wears her silly t-shirts with pride and has the audacity to ask chat to rate how hard her fit goes

therealher0brine: BOOOOOO 🍅🍅🍅 0/10

elliebellie69: i beg that you don’t leave the house in that /lh  (╥﹏╥)

gnarpgnarp500: never beating the loser lesbian allegations i fear…

“guys you’re just not seeing the vision, sorry that you’re not this cool.”

 ‧₊˚౨ৎ oh my gosh she is OBSESSED with the little ikea alien, she has multiple of them in her room. she keeps one on her desk and when she sometimes doesn’t know what to say she’ll just hold it up super close to the camera and make incoherent high pitched babbling sounds

smelliams420: omg cancelled you can’t say that dude…

 ‧₊˚౨ৎ gets her viewers to send in clips and she’ll do high try not to laugh streams and fails miserably because she has the dumbest sense of humour ever. she’ll blame it entirely on the herb though as if her reaction wouldn’t be near enough the same when she’s sober

‧₊˚౨ৎ will occasionally play guitar on stream and she’ll sing too if you catch her in the right mood. she’s a bit awkward about it so it doesn’t happen often cuz she hates messing up and always makes a way bigger deal about it than necessary

“fuck- no wait, i was just messing with you. that fuck up was on purpose, shut up,” and her cheeks are flushed bright red as she tries to brush it off and compose herself before trying again

 ‧₊˚౨ৎ loves to get sidetracked and info dumps about stuff she is far too knowledgeable on

 ‧₊˚౨ৎ in conclusion, loser ellie supremacy

a/n: raghhh i love streamer els with my whole heart !!! i’m gonna eat her (˶˃⤙˂˶) anyways i hope you enjoyed, k bye mwah! >3< ♡

[eroguron0nsense]

Garp Rant #11543

Because I'm something of a Certified Garp Hater/extremely obsessed with this man, and because Tumblr people seem to like my Garp takes and/or find them extremely pain-inducing, here's another one for funsies! Again, Garp is an incredibly written character and I massively enjoy his moral failings and human shortcomings, hence why I won't shut up about how much he sucks. So we all remember Garp crying in front of Ace during his imprisonment and awaiting his execution, lamenting the fact that his son and grandson could have maybe avoided this horrible horrible fate that awaits them at Marineford if they'd just become good marines like he'd tried to press them into. Every time he says it, he sounds more desperate, sadder, and angrier, like he's experiencing the stages of grief and going through denial, anger bargaining all at once, lashing out at his grandkids for supposedly causing him grief by defying his wishes, or maybe praying or wishing for a world where they could have followed in his footsteps and lived happily ever after. And when Ace hears that again at Impel Down, he says this:

Here's the thing though: Ace is unequivocally correct Garp should, by all rights, know this. He lived through the fallout of Roger's execution. He knew long before that exactly what would happen to Roger's loved ones and anyone the government could get their hands on who'd ever associated with him. Even before they started committing femicides/infanticides in Baterilla trying to end Roger's bloodline, he knew that the Marines were going to target completely innocent people in the name of purging the bloodline and cementing their "victory" over the greatest threat they'd ever faced. He specifically had to smuggle Rouge out of there so she could give birth to Ace, and all the while dozens of families were being brutalized by his peers and having their lives torn apart. That was the cost the Marines were willing to incur to kill a hypothetical infant, and years later, when that very same child is set to be executed, Sengoku goes on a remorseless public tirade about the necessity of killing babies and the horrible trickery and audacity Rouge displayed by dying so that they wouldn't kill her baby too.

Garp knows every single piece of this information in painful, excruciating detail. He's so horrified by it he feels the need to fulfill this wish of Roger's because he knows blameless people will die. He has Ace raised in secret to protect him from Marines who are figuratively and literally out for his blood. And yet, throughout this boy's childhood, he clings to the notion that maybe, just maybe, the people he knows regularly commit atrocities, who have carried out at least 3 genocides that we know of in Garp's lifetime, who were willing to commit mass infanticide for a woman and child they hadn't verified the existence or identity of at the time, would have accepted him within their ranks and turned a blind eye to that information when it eventually, inevitably surfaced. That Ace can find salvation from the people who stole every loved one he ever had before he was even born, who slaughtered his mother's community and pushed her to her death, and were slavering at the opportunity to kill her. That even though Ace was born in direct opposition to them, has had a target trained on him before he was born, these people who tried so goddamn hard to kill him would surely welcome his presence and not murder him the second they found out if he could just be a compliant model soldier and make himself useful. It's hammered home pretty effectively–especially in the manga– and One Piece has never been known to be subtle in its messaging, but I swear to God I see so many people echoing the notion that Garp's attempts to force his grandchildren into serving the Evil Empire was done because he knew was their only shot at safety from the WG, and I fucking despise this take. Ace saying that he could never be a marine here in Impel Down isn't some young man's rationalization for his (beyond valid) desire not to subscribe to the preset path Garp laid out for him; it's literally the only logical conclusion if you know literally anything about the circumstances of his birth and upbringing, and Garp only thinks that the leopards wouldn't eat Ace's face because he's fucking delusional This in and of itself is extremely telling of how horribly warped Garp's perception of the Navy is, and how deeply he's willing to buy into the Marines and their warped propaganda no matter how many glaring examples he sees throughout his life that counter his worldview, but let's not forget that this applies to Luffy too. This is slightly hairier, in that if Luffy was a) the sort of person who could willingly accept a career in the marines and b) managed to cling really, really tightly to his grandfather's coattails and legacy, there might have been a very, infinitesimally small chance that he could have joined the Navy. The higher ups know that Dragon is Garp's son and therefore Luffy is Dragon's by logical inference, but I could see some AU where Luffy is a fundamentally different person and manages to build himself up in the Navy if not for two things I think warrant examination. It's pretty evident, and Dragon explicitly confirms, that Luffy being known as his son would have put him in incredible danger, only feeling comfortable with acknowledging it and the possibility of actually reuniting with his child after Luffy was both publicly recognized due to factors beyond his control, and proved that he was more than capable of holding his own. But I want to draw attention to this one otherwise pretty silly little gag moment between Garp and Sengoku when they learn that Luffy's broken into Impel Down, and present a theory that's kind of a reach but also not really

Now the phrasing here kind of interests me, in that it ties back to earlier demonstrated patterns that the Navy uses repeatedly in collective punishment for the families and loved ones of their primary targets. Rouge and Ace barely escaped the mass murders intended for them because of their connection, but Tom was also originally sentenced to death for having had a connection to Roger, and ultimately chose that as the offence he wanted to be sentenced for at Enies Lobby. Law, as a child survivor of Flevance, has multiple hospitals try and turn him in to the World Government to be killed when Cora tries to find someone to treat him because their policy is to pull out the roots and salt the earth whenever they deem a person or population politically inconvenient. Robin's flashback shows us Akainu blowing up a refugee boat on the off chance that one of those people that they were planning to evacuate might have gotten past their initial screening for archaeologists/poneglyph readers. At Marineford, Akainu specifically targets Luffy not because of his prior offences or even his attempt to rescue Ace, but because he's Dragon's son and his and Roger's bloodlines need to be eradicated. This is not an institution that is in any way reluctant to destroy anyone tangentially affiliated to a designated enemy, and Luffy being the son of the worst criminal in history seems to put him right in line with all of those other cases. In light of this, and Garp's massive blind spots and wishful thinking regarding his peers and employers, it's not that much of a stretch to assume that the only reason Garp's exempt from being targeted like Dragon is because of his popularity/symbolic importance/utility, and that Luffy likely wouldn't have been safe even if he weren't a pirate. Garp's circle of confidantes/friends in high places is powerful, but clearly there are factions (Akainu, Ryokugyu etc) that would be substantially less willing and who are given preferential treatment by the Elders and Celestial Dragons. There might be something to read into based on the fact that Garp is the only known person from a D bloodline who's achieved massive success in service to the World Government and not defected from the Navy after realizing its true nature (props to Saul), and therefore he might project the fact that he's been rewarded by the system despite being a "sworn enemy of the Gods" onto his family, but that still doesn't account for the massive, delusional arrogance he displays in insisting that, despite everything–especially, especially the murders committed in pursuit of Ace, that robbed him of his birth mother and community–the Navy is the best and safest place for either of those boys. TLDR Garp not wanting his grandsons to have a bounties on their heads is one thing, but it says a lot that in spite of everything he knows, he's willing/determined to put Ace and Luffy in an environment that's extremely dangerous for them –and in Ace's case 100%, unquestionably fatal– because he's so convinced that compliance and the platonic ideals of "justice" and military service/hard work being rewarded by the system could supersede all of that.

[genericpuff]

Lore Olympus Episode 265 Betrays the Series' Own Messages of Consent

I've been keeping it on the down low lately with new episodes of LO, both for the sake of my mental health and because LO itself has just become so... pointless and boring. There's only so much to say when nothing is happening, and in that regard, I will preface this with a "congratulations" towards Rachel, because she's finally found a way to best the "haters" - make the comic so boring that there's nothing worth talking about to begin with.

At first glance I thought this was going to be another one of those episodes. Good job, Rachel, you managed to pad out another episode with pointless fluff to get you closer to that looming end date. Just keep dragging, just keep dragging, just keep dragging-

But the longer I sat on it, and read the comments and posts about it in discussion circles, the more I've realized that this episode in particular has a load of issues that I don't feel good just sitting on and not talking about. Primarily because, over the course of about 90% of this episode's length, we see Lore Olympus - and Rachel - slyly undo everything that ever mattered in its subtext about consent, healthy relationships, and strong communication.

Granted, Lore Olympus has never exactly been the poster child for those things, but it's trying to be, so we're going to dissect it with an equal amount of scrutiny. It wants to be taken seriously, so I'm going to take it seriously and criticize it seriously.

CONTENT WARNING: EPISODE 265 SPOILERS AHEAD, AS WELL AS DISCUSSION OF SEXUAL ASSAULT, MENTAL HEALTH, GROOMING, AND SYMPTOMS OF MANIA, PROCEED WITH CAUTION

Episode 265 opens with an attempt at plot progression, returning to Morpheus who, last we checked, had been targeted by Kronos as the cliffhanger for Episode 259 before being shoved aside entirely for multiple episodes worth of Demophoon, pool-fucking, and a vision from Hera.

Honestly, I won't waste my 30 image limit on the episode's opening sequence because it accomplishes absolutely nothing. And by the time it starts to try and state what that goal is, it transitions away, because Rachel has the attention span of a squirrel on meth and having Morpheus state what her plan is would just be too much dedicated writing for her at this point, she needs another week at least to figure it out.

So instead we get exactly what was promised in the FastPass previews - the entire episode is spent, yet again, on Hades and Persephone, with the exact same topics, conclusions, and terrible sex as the pool scene.

Seriously, this might be a nitpick, but I'm so tired of Persephone not being allowed to swear. We've seen other characters swear. We've even had Kronos call her a "dumb fucking bitch". But this "girlboss" character who we're supposed to believe has "agency" can't be allowed to swear even when they're in an ACTUALLY STRESSFUL SITUATION? You know purity culture isn't exclusive to sex, right, Rachel? If you're gonna deconstruct it, maybe don't have the poster child of that deconstruction be relegated to a church girl? She's literally the Queen of the Underworld - adjacent to the ruler of Hell - let her fucking swear LMAO

Anyways, we see very quickly that Persephone is still feeling the ill effects of her anxiety that she was feeling in the last episode. Anxiety that, by the way, caused her to pass out. Please keep that in mind, don't let it escape.

And what is she stressing over? The genocide? The fact that they still don't have an actual solution to the ongoing "plague"?

Nah. The sleep dive. She's stressing over her husband doing the sleep dive again and - like last time - turning into a dad-possessed monster.

As always, the fear and anxiety is in no way linked to the actual devastation happening outside - it's just concern for the main male lead, because that's all Persephone's character and thoughts and opinions and "agency" can revolve around.

But uh. Remember that scene where Hades got possessed by Kronos and literally strangled her? Remember that scene I just asked you to keep in your brain about her panic attacks getting so bad she's been passing out?

Hello? No? Okay. Next.

I hate, I loathe, I detest this dialogue. Not because it's cliche as fuck - it is - but because the whole "I trust you, it's just xyz I don't trust" shit has been overplayed and debunked as a plausible response in relationship communication for years now.

We talked about this back during our discussion of Leuce - how it shouldn't matter if Persephone doesn't trust Leuce because ultimately Leuce can't do anything to her or Hades' relationship if it's built on as much "trust" as she claims it is, trusting Hades is all that should matter full stop - and it repeats itself here, albeit with Hades' dad instead of his canon first wife. This is a copout. Relationships actually built on trust can definitely still be worried about the issues posed by other people, but if you trust your partner, if you truly trust your partner, that's it. That's where the sentence ends. No shit you don't trust Kronos, we've been over this song and dance multiple times before and while he's definitely a bigger real threat than Leuce, your distrust for Kronos has nothing to do with how you're communicating with your partner who knows there's likely no other way and a solution has to be found. Nothing's being accomplished at this point from Persephone moping around and having sex with her husband, and he's showing 10x more initiative in actually finding a solution - even if it means putting his own safety at risk - than Persephone.

I didn't edit any of that, those are the legit real panels. Literally what the fuck is this dialogue, my tinfoil hat theory about LO being written by ChatGPT is becoming more and more plausible and I hate that, my crackpot theories shouldn't actually become reality.

Is there an owl in here?

LO is just spinning its wheels over the exact same conversation and points that have already been made. Nothing is being accomplished here, it's just more moping and going over the same problems - the centre of which being "what about H x P's relationship?? :(((("

All of that repetitive meandering and moping for "okay fine but if anything feels weird, get out" "okay". It, again, accomplishes nothing that couldn't have been accomplished during the pool scene.

And now we get this line. "I experienced greed in that way, and you do not possess it." Don't be alarmed if you were confused, I was confused too, as were many people in the discussion circles. Thanks to the ULO Discord, I realized she was talking about Apollo. She's literally comparing him to Apollo.

"After all this time, I can't comprehend you causing me harm. I've been at the receiving end of harm so I would know" is literally all she's trying to say. And even with it translated... I don't really like the implications of it at all. This has been a problem since S1, but there's always been this subtext in LO that because Hades didn't rape her, that somehow makes him less abusive or a better partner for Persephone than Apollo, that's all the SA has really been trying to achieve.

But Hades is abusive. He's intentionally pursued women who are in a crisis. He's trapped women in financial dependency. He's sabotaged women from having power and status on the same level as him.

And now, we're about to see actual abuse from Hades - the subtle kind that demands co-dependency, but is still abuse, full stop - but it's being framed as "romantic".

"Being an Originals creator was my big chance to prove myself, and I flopped"- wait sorry I misread. We're talking about Persephone failing at being Queen. Yeah, she definitely flopped. And it goes to show her true intentions in wanting to be Queen, now that she's hit rock bottom and isn't putting on a brave PR face - she wanted to become Queen not to make the Underworld a better place, not to be an example of being a better ruler among a gallery of scumbags, but to "prove" that she could belong and be one of the big guys, that she could be more than just a cereal box mascot.

Don't get me wrong, I can absolutely get wanting to rise above the odds and "prove" to everyone that you can be more than people's perceptions of you, but becoming the literal ruler of a realm that you then go on to destroy due to your own hubris, just to whine and cry about it and have your husband and your colleagues and your friends carry the burden of that destruction on your behalf... therapy would have been a better first step to overcoming those insecurities, not taking control over the lives of innocent people.

Especially when Persephone DID have status and power before becoming Queen, it just wasn't the specific kind of status and power she wanted. She was only a trust fund child with a huge net worth, a full-ride scholarship, and everything she could ever need provided to her with little struggle to get it - but she didn't have control over other people so it just wasn't good enough.

This is the perspective and attitude of a 19 year old who never matured. Who never could mature because she transitioned from her mother's control into Hades'. There were far better ways to prove herself, ways that we had seen her try to do, only to drop so she could pursue her co-dependent relationship with Hades - she gave up her schooling, gave up her apartment (which we only see her use maybe 2-3 times), gave up so many of her connections and support so she could be with Hades.

This is the result of 5 years of real-time grooming that we're seeing play out.

No, you are just saying them because she's your wife. You'd be saying it to Minthe, or Leuce, or Hera, or any other woman in Persephone's position because it's not about taking accountability, it's about keeping these women in a position of submissiveness and co-dependency, by giving them reassurance that nothing they ever do is wrong and that he's the only one that can give them that freedom from consequences.

And then we get the reinforcement.

I'm gonna spare you all the cringe of the actual sex scene (and yes, they do straight up go into having onscreen sex and it's... not hot at all), but here's some of the dialogue spoken by Hades during the entire sequence:

Again, let's remember the actual situation that led up to this and the position Persephone is currently in. For the third time Persephone has "accidentally" killed thousands of people. Over the past few episodes we've seen her try to realize how so many of these problems have been her fault and she clearly doesn't know how to make things right (and Rachel has made it obvious how much she doesn't want you to agree with this kind of self-awareness because much of it is being said through the mouthpiece of a rapist). And now we have Hades, reinforcing the thought patterns that would prevent her from growing and learning and changing. In this, a comic that's supposed to be "feminist", a comic that's trying to preach the importance of consent, a comic that's trying to make us believe this is a healthy, consenting relationship with strong communication skills.

These are literally grooming tactics. Hades is reinforcing the same thought patterns that will prevent Persephone from acknowledging her errors and mistakes. People are dying and Hades is telling her that if anyone has anything to say about it, they deserve to die anyways. The same man who literally rewarded her with sex for vandalizing a nymph's home is now telling her that she's not cruel, but kind:

Hades might not be Apollo, but he literally choked her out less than a week ago while possessed by his dad, and for the last SEVERAL episodes he's had the starry skin making him resemble who? Oh yeah, his dad.

Hades is literally holding Persephone in the same position Kronos did, while she's experiencing a literal meltdown that she's trying to stuff deep down - in fact, exhibiting a LOT of symptoms of mania - and initiating sex.

Doesn't this feel a little familiar?

Oh right, but he asks her if she's "still okay" mid sex only AFTER initiating chokehold sex with her without her consent and love-bombing her, so it's fine, clearly.

I remember being 17 years old and reading Fifty Shades of Grey for the first time, and even then understanding fully how toxic their relationship was. I can only hope the teenagers in Rachel's comment section can realize that as well, but judging by the comment section, I'm not holding out hope. This is literally "fifty shades of fucked up" material, and what's worse is that I can't tell if Rachel genuinely thinks this is healthy, or just doesn't realize how unhealthy it's coming across as. Even beyond how "cringe" this sequence is, it enters into the realm of being deeply uncomfortable and unsettling, and it needs to be talked about, Rachel can't be let off the hook for this especially when this is supposed to be, again, a comic that's intending to "deconstruct purity culture" and teach young girls about consent and boundaries.

And that's it, that's the end of the episode. It reads like the manifesto of a villain in the making at the hands of a predator, like Anakin being manipulated by Palpatine - "so long as you're with me, you'll have all the power, all the glory, and everyone else will be crushed underneath your heel."

Is that really the message we really want to come away from LO from? That it's fine for husbands to initiate sex with their wives through trauma-bonding and reinforcement of toxic thought patterns rooted in grooming because... they're married? That being a "girlboss" means sabotaging and abusing anyone who you perceive as a threat?

Is Hades really that much different from Apollo? Because so far, the line between his actions and Apollo's are seriously starting to blur. The parallels between Persephone and his past partners - Minthe and Hera - have always been clear, but they've never been quite so loud as last night's episode.

This is Hades' play, the play of a groomer and an abuser who depends on making their victims dependent on them - taking advantage of women while they're in a crisis.

For Minthe, it was financial - she had lost her job, blamed it on him, and he found a way to "solve her problem" that strategically put her into a position where she had to continue to financially depend on him for what's assumed to at least be a year or longer, through her apartment, her bills, and her job.

For Hera, it was emotional - she had chosen Zeus over him, and instead of addressing her marital concerns within the marriage, she participated in an affair with Hades in an attempt to have what she could have had if she had chosen Hades instead, a man who resembles her own abuser. Not only did this put her into a much more vulnerable position than him - if the affair was found out, Hera would have suffered the consequences far more than Hades - but it's also manifested itself into Persephone, who Hera has been using as a stand-in for herself, even going so far as to manipulate Persephone's image and how she goes about her decision-making, from intentionally pulling the strings to get Persephone a job with Hades so she could get closer to him as a "test" for Hades, to forcing Persephone to wear a wedding dress she wanted her to wear over the one Persephone had actually picked out herself.

And now there's Persephone, the newest addition to the cycle of abuse and untreated trauma, the true culmination of Hades' years trapping and manipulating women - financially dependent on him, emotionally dependent on him, and only where she is because she's made her entire identity revolve around him.

I'm not going to psychoanalyze Rachel in any way, I don't want anyone to think that this is permission to do so because Rachel's personal life is her own and I want to examine the material rather than the person. But so much of LO gives me such a gross impression that Rachel herself never matured past middle school, that she never grew beyond the mindset of being a 13 year old girl who felt like the entire world was against her and that no one could understand her, that she never gained the perspective most adults do by the time they're 25 at minimum after they've entered the "real world" and had the lived experiences that make you realize "wow, that girl I hated in high school for stealing my crush from me probably wasn't as bad as I thought she was and we were all just teenagers trying to navigate the hellscape that is adolescence."

And instead of actually analyzing those thought patterns and mindsets, Rachel is instead reinforcing it in her own audience of 13 year old girls and teenagers who will only hopefully maybe outgrow it and not just repeat the cycle themselves.

And this isn't entirely on Rachel's shoulders. It's on the shoulders of E.L. James, of Stephanie Meyer, of Colleen Hoover, of every "young adult" romance author who's peddled this strictly heteronormative "submission culture but not like the 1950's kind I swear" crap, that women should only aspire to find the richest man they can bag in their pursuit for power and after that everything in the world is owed to them and any problem they have can be solved by riding dick. Trauma? Solved. Genocide? Solved. The very real consequences of your own actions that affect others to such a degree that it will be felt for decades? Solved. Just ride that dick and get that money, girlboss.

Just like 50 Shades of Grey, if Lore Olympus was any other story, it would be a tragedy. It would be a masterclass in understanding and showcasing the signs of emotional abuse, financial abuse, grooming, trauma-bonding, love-bombing, and enforcing co-dependent habits for the sake of trapping people. It would be a precautionary tale to young girls to stay alert and be wary of older men, that men like Hades are depending on girls to fall for their tricks, their praise, their affirmations that they're so mature for their age, that they're not like other girls, that they would just be so set for life if they spent all their time and attention with them, so that they can "have it all".

I can only hope that even a third of the young girls who read LO naturally grow up, gain perspective, and learn that LO isn't the pillar of healthy relationships and consent that it tries to be. It's certainly a common thing to see these days, for people to join the UnpopularLoreOlympus / #antiloreolympus community with sentiments that they started reading it at age 14 and then (thankfully) learned that what LO was preaching wasn't healthy.

But for every other girl who doesn't realize this, it's reinforcement of the same cycles - the cycle of women being only objects for sex, pitting themselves against one another, confusing gender empowerment with abuse towards others, and making their entire identity revolve around a man and justifying it as healthy so long as it makes them rich and powerful.

Even if Rachel some day gets her own head out of her ass and realizes what damage she's causing in her audience, like Persephone committing genocide, no amount of self-awareness will undo the consequences. She'll still have the awards, the money, the accolades, everything she's gained off the backs of Greek myth, feminism, and good faith from an immature audience who doesn't know any better and isn't being given the tools to understand.

Even if she realizes that, that's something she's going to have to live with for the rest of her career.

And it's a fucking tragedy.

[bloodreddemons]

Hazbin Hotel Episode 7-8 (Finale) Hot Takes ~

I personally loved a lot of the Charlastor content in the beginning. So cute.

The deal Alastor purposed to Charlie was also very predictable. We already knew they were going to eventually make a deal but that deal in particular was just very predictable.

I think everyone knows this already but that "one little favor" that Alastor is going to ask of her is going to bite her in the ass. We don't know what he's going to ask but it's definitely gonna come back to haunt her.

She may even make a deal with him again possibly in the future, who knows.

I'm surprised Vaggie didn't know Angel's could be harmed or killed. Its weird that she also didn't know how to fight against one.

Rosie is a real gem and a wayyyyy better friend than Mimzy fucking is.

I love Carmilla & Vaggie's dynamic. I think they both are very much the same personality wise. I definitely can see Carmilla as a mother figure to her or at least a teacher to her, which she pretty much is.

To follow up, I loved Carmilla training Vaggie and helping her get her wings back. Out For Love was also really really good. I liked it a lot.

Never thought I'd hear Alastor call someone an old bitch but it was everything.

I knew Charlie was gonna forgive Vaggie regardless of anything but I love Auntie Rosie.

I didn't really like "Ready For This". I wish I did like it. Especially since it had Charlie, Alastor, & Rosie in it. Idk I liked Out For Love more.

Vox's commentary was funny asf but he's also such a hater. Not even a low-key one lmao.

The post-fight celebration and speech was actually very sweet. Although I wish there was more time and episodes that we could have seen more of the characters bond. I also wish there were more opportunities where we got to know them better.

I really thought Angel & Husk were gonna fuck this episode.

I wasn't expecting for Sir Pentious to say "I love you" to Cherri Bomb so soon and I also didn't need to know he had 2 dicks.

"More Than Anything" Chaggie version was pretty sweet. It'd be cool if there was a longer version idk if there is. They also kissed which was nice.

Adam & Lute are funny asf. Especially Adam. They may be horrible people but I just can't get over how funny they are. Even when they're about to massacre Charlie's people. Lol.

I wasn't expecting the war to be kinda epic. The shield that Alastor put up over the hotel kinda reminded me of the last Harry Potter. When they all put a shield around Hogwart's to protect everyone from the death eaters and voldemort.

Adam might just be the funniest character in this series dead or alive. Heaven or Hell.

It pisses me off how Charlie barely does anything in the fight. Like, this is her people and her fucking hotel as she keeps saying... yet everybody else but her is fighting. Wtf? Girl yo ass should be in Sloth.

I love Alastor & Adam's dynamic, their first impression of eachother is so hilarious. The fight between them was also very entertaining. I was really curious to see who would win.

I was actually kinda surprised that Alastor was defeated so easily. I honestly thought he was stronger than that, but tbh Adam is very powerful he's the fucking first man, extermination commander, and he already single handedly broke Alastor's shield.

People have pointed out Alastor's "normal" voice when his mic/staff breaks, because it's his voice without the radio filter. Imma be honest I wasn't that shocked at all, he just sounds the same to me, the radio filter just adds a cool effect.

Charlie really could have got tf up there and helped Alastor out. Idk if she thought he could handle himself or what but fuck.

SIR PENTIOUS KISSING CHERRI WAS AMAZING. WE WON. But then he "died"...

To follow up that sacrifice was anticlimactic at the same time. Mostly because of the way Adam just effortlessly zapped him out of existence.

I'm so disappointed in the "Charlie finally snaps" bit. I was literally dying to see this part in the series, where Charlie finally loses her shit and stands up for herself or whatevever....but it ended up being extremely disappointing and yet again, anticlimactic.

Charlie's transformation along with Razzle & Dazzle was kindaaa cool, however...her getting her ass kicked within like 0.3 fucking seconds was not. It was embarrassing for a demon of her status. I can understand Alastor, but seriously Charlie? You can't beat him? The clownery.

I loved the Vaggie & Lute fight. Let my girl Vaggie finally get her ones. Lute needs her ass beat disrespectfully for what she did.

Although...Lute was winning that fight, she was still holding her own and getting more hits in. I don't even think Carmilla's teaching's were working. Lmao damn. That bitch is fucking scrappy.

Vaggie should have just ended Lute. I know she's too good for that, but she really should have just killed that bitch. She left you for dead you should have just killed her.

Charlie stabbing Adam and standing her ground was badass, but that was kinda it. She still ends up almost getting choked out. Lame.

Charlie just isn't that powerful. 😒 Or at least as she's supposed to be. Maybe it's still not really shown to us, but so far she just isn't that threatening at all. Very disappointing.

Lucifer coming in kinda pissed me off. I wish Charlie could have actually handled everything herself without her dad having to come in and help her. I just feel like it'd be more impactful for her and her character.

Adam x Lucifer actually does seem kinda hot....just me???

Their fight was very entertaining despite already knowing who would come out on top. Hehe.

"All of Mankind came from these fucking nutts" is pure poetry.

Nifty is a menace and I have been saying it since the very beginning. If anyone should be running shit it should be her. Alastor is so feared but it should be herrrr.

I didn't like "The Show Must Go On" as a song but it was sweet in the sense that it was about Charlie and her found family helping her rebuild her hotel and still have the determination to keep going. Also it helps lead off into Season 2.

I'm fucking itching to know what deal is bothering Alastor and who he made it with. It's becoming more likely that it's with Lilith & that's who owns him.

I think it's obvious the deal possibly involve's Alastor to watch over or protect Charlie. Alastor is becoming bothered by having to do this because he literally almost fucking died.

I'm really worried about what Alastor is going to do when he's finally free and under no restraints from who controls him. I know Viv said Alastor isn't an antagonist but she could've just been keeping it a secret.

Alastor really might be a secret antagonist. He'll just be that surprise villain in the end that kinda comes out of nowhere but you still knew it was coming. I wouldn't trust him especially with what he said. Him pulling the strings can't be good.

I can't believe Sir Pentious got redeemed before Angel Dust, but still good for him! I'm so happy he got redeemed he truly is good and deserves it.

I was pissed asf when I saw Lilith in Heaven. Your daughter has been in HELL fucking struggling, while you've been sitting comfy up in heaven, the same place that is fucking YOUR people up!!! Helloooo??

My theory is that Lilith is Eve in disguise. I wholeheartedly believe that because something just feels off?? Y'all feel that too??? Lilith making a deal with Adam? Chilling up in Heaven? NAH MAN.

I also think it could be Eve who owns Alastor and that he knows of her being disguised as Eve, and is in Heaven. Like he's kinda in on it, but more so by force.

[mugentakeda]

omg are u an iroh hater?? IROH HATERS UNITEE i hate that old man

well. i am an iroh hater. but also its actually that iroh is one of my favorite characters of all time. however comma i specifically like iroh because hes a moderate to severe piece of shit and a medium bad uncle. i love how he has a “facade” to dismantle. i love how he has traits outside of being zukos uncle while at the same time the way he parents zuko is obviously connected to the kind of guy he is and the way his stupid brain works. i dont think iroh would be half as memorable as a character as he is if he was truly just the do gooding all wise old man that people perceive him as.

i hate how the writers and fandom treat him like a hoity toity paragon of virtue that was done wrong by zuko and azula and whatever as if hes not a grown ass man thats done everything they did in canon but probably several times over and maybe even worse because hes like. in his 50s-60s and the siege of ba sing se is definitely not the only thing on his track list. i believe in elder abuse when its iroh i think azula shooting him in the chest was frankly hilarious and i think zuko turning on iroh for azula was something iroh had no right to be surprised by and i also think he owed zuko an apology in turn during sozins comet.

i like how hypocritical he is. i like how he continuously misunderstands zuko. i like how even after his so called spiritual journey or whatever that he still sometimes fails to recognize his own behavior and it in turn negatively effects his relationship with zuko because he keeps pushing morals and ideals onto zuko, when he doesnt even fully adhere to those morals and ideals himself. i like how he hates azula despite the facts that 1. shes 14 2. ozai is her dad 3. shes literally his mini me in so many ways. hes elusive and wobbly with morals when he really shouldnt be considering hes trying to nurture the most unstable teenage boy in the whole world.

but like at the same time i also deeply love zuko and azula so i get deeply frustrated with him on their behalf. everytime i watch book three and analyze his and zukos interactions i wanna bang my head against a wall until i die

[smhalltheurlsaretaken]

to that anon I got about my last posts: if you're hurt that I'm talking about antisemitism on tumblr rather than the Israel/Palestine conflict itself then you're going to have to make your peace with a star wars blog not being an effective platform for activism.

This is the point I've been trying to hammer home perfectly illustrated. I deviated ever so slightly from what's allowed on the subject to say that I can't participate in this website's idea of 'raising awareness' (distributing real facts and misinfo alike without a care and being a bunch of fanatic Jew haters in the process) and that I don't think I'm able to critically and accurately examine every piece of news that gets passed around here, and you're taking this to assume I don't care. So no, I'm not going to spend my time trying to prove that I do care to that particular crowd.

You're upset with me for not treating this like I did fandom and assuming I value fictional characters more than real people because of it, but it's precisely because this is infinitely more important that I'm not going to be doing real people the disrespect of giving my two cents on their suffering and deaths on the same platform I did STAR WARS.

[yamameta-inc]

Why do we talk like that about Gintama?

So this is something I've already talked about a lot here and there, but I thought I would condense my thoughts on the topic in its own post.

We've joked a lot about math zeitgeist, but why in the world are we furiously mathposting about Gintama? Why did I write 28 pages of actual essay for it? Where does kraniumet get all those images from? (I've always wondered this.) Essentially, what's driving us to analyze these themes and motifs over and over again... and why can they be analyzed over and over again?

When I first wrote My Orochi Stood Up, I made it clear that this was an original framework made for the same purpose as all analytical frameworks and models: to enable me to gain certain key insights about the series, to account for all of its innumerable bits and pieces, and to arrange their relationships to one another in a cohesive, legible way. In short, as I wrote in my essay, it provides me with symbolic technology.

In the same vein, when I wrote my spontaneous math post, I said that so much of math is about things that don’t exist and yet become real, not just because they help you articulate something but because they help you arrive at a solution. This is the purpose of things like imaginary numbers--or negative numbers for that matter.

I know that we should never live life in accordance with the fake hater in our heads that we imagine saying stupid things to us so that we can respond to them in smart, cool ways. I'm sure Zura lives like that though, and we all think he's charming, so maybe we should reconsider this idea. What I mean to get at is that I've never once tried to claim that Sorachi literally intended any of what I describe in my ouroboros framework. I don't think he sat down one day and planned to make his motifs compatible with western alchemy, I don't think he had the creation myth of the island of Japan in mind, and I don't actually think he read Barthes.

But what's undeniable is that there is something so bizarrely consistent, coherent, and plentiful about Gintama's thematic flourishes--even though in many, many ways, Gintama is filled with bad, and worse, mediocre, writing. What sets Gintama apart from other series isn't the inherent quality of its writing (which has stark ups and downs). If you'll forgive the confusing and somewhat contradictory wording, what makes Gintama distinct isn't a quantitative difference (as in, more goodness), but a qualitative difference. What does this qualitative difference boil down to?

First is structure. This part we've gone over a lot, so I'll try to keep it brief (or novel?). Gintama is a series with basically just one favoured literary technique, and it uses it again. and again. and again. and again. and again. Parallels upon parallels upon parallels--and there are only a few key thematic ideas that Sorachi is interested in exploring. You can describe it as consistency, or, if you want to be uncharitable, repetitiveness. But it is, frankly, absurd the amount of parallels--or rather, the degree of parallelism--this series contains. What's interesting about it is its effects on how we engage with the story.

By making it obvious that this is a conscious and explicit writing decision (through various means, mainly dialogue), any characters with suitable parallelism to a prototypical character A are all connected to one other--let's call these the A-sided characters. This holds even if they're all a bit different from each other. Imagine all these A-sided characters spread out in line, like hostages tied to each track of a train track or the rungs on a ladder. They lose similarity with each rung, like loss of clarity in a game of telephone--let's call this "reflection lossiness." Even though characters in the top rung and the bottom rung may not have much in common, they may both be within "lossiness range" (<- I just made this up) of a character in a middle rung, and therefore able to communicate indirectly with one another.

Moreover, because the prototypical character A has a foil in prototypical character B, all A-sided characters are also connected not only to any individual foils they may have, but potentially to all other B-sided characters. Since it's easier to identify characters' thematic affiliations through their interactions and dynamics with other characters, the consistency of the A-B foil formula, when combined with the fact that animanga foils are generally made very obvious, helps us perceive these diagonal relationships. Thus, the reader can squint at the interactions of almost the entirety of Gintama's enormous cast with valid suspicion, with less difficulty than in other works with more complex structures. The series' sheer length also ensures that there is an abundance of material to comb through, so much so in fact that this careful inspection, through rereading again and again, becomes necessary.

For instance, the interactions between any given pair of characters may not seem directly relevant to our protagonist at first glance, but once you know the magic A | B schema, you may notice that that pair's interactions resonate with that of a different pair, one involving an A-sided character with less reflection lossiness from the top and who therefore reflects much more of what happens to them onto Gintoki. In this way, the original pair, who are probably just a couple of minor side characters who appear once in a weird arc and then never show up again, can make you go, "hey wait a minute. what if?"

What if?

Let's look at a concrete example. Housen and Utsuro don't seem to have much to do with each other at first glance. However, because we know that he parallels Kamui, and that Kamui | Kagura parallel Takasugi | Gintoki, who in turn can be mapped onto Utsuro | Shouyou, we can arrive at a Housen-Utsuro connection that wasn't previously obvious. What is the utility of this connection? For one, it sharpens our ability to articulate how the hole-sided flee from the things they fear and yearn for by adding Housen's infamous avoidance of the sun into the analysis. It also provides new ground for exploring potential ideas comparing, say, Kamui choosing to leave with the Harusame and walk in Housen's footsteps, with Oboro's resigned embrace of the Naraku and Utsuro. Additionally, since Housen was defeated in Hinowa's lap, this also helps us draw a Hinowa -> Kagura connection, which helps us arrive at a Hinowa-Shouyou connection, which helps to reify that Shouyou is a milf.

By inserting one or two blatant instances of foreshadowing and parallelism early on in the series, instances that are impossible to pass off as coincidence, Gintama primes the reader to suspect that similar nuggets might be hiding anywhere, to check every garbage can we encounter from there on out like in the Pokemon games.

Whoops. In attempting to explain the math zeitgeist I succumbed to using math in my explanation. It's irresistible.

But that's structure. Let's move on now to something arguably even more important: motifs.

It's undeniable that for a shounen series that's half gag-manga, Gintama has a strange amount of analyzable motifs, and a clear loyalty to them. Regardless of how extravagantly people on tumblr dot com may want to overanalyze their favourite Shounen Jump series, their efforts are usually restrained to theme and characterization. Their ravings do not usually resemble the ravings of the Gintama Salon. If you've read this far, I don't think I need to explain this to you, or what Gintama's most prominent motifs are. But why is Gintama so motif-ful? The sword's importance is obvious, expected even, but what differentiates Gintama from, say, Bleach, where the characters' swords also literally represent their souls in a way?

In the end the answer is what I already discussed in My Orochi Stood Up, the foundation of my entire framework, in fact its very title: the dick joke.

Sorachi's immature sense of humour is the glue holding the entire thematic and narrative structure of Gintama together. Why do we search obsessively for meaning in the flotsam of Gintama's less narratively charged moments? Because, quite frankly, many things are phallic. The sword is no longer simply a sword--by being imbued with the spirit of the dick joke, it becomes not only valid but textual to associate it with the head of the nation (shadow juice squirt), the motif of the dragon (thank you Elizabeth), and castration. What I mean is not whether the sword can be read as a dick--obviously, phallic logic has been prominent through all of human history--but the way in which Gintama's sexual humour gives us--and itself--an impetus to equate motifs in the first place.

Comparing very serious things to dicks is funny--the more abrupt, the more shocking, the more mood whiplash, the funnier is. Therefore, for Gintama's toilet humour to be as effective as possible, tone dissonance is ideal, pushing it towards the intermingling of comedy and tragedy that we know it so well for today. This in turn validates and reinforces the meaning-making role that these phallic jokes play in the story as a hole. It is not only that we cannot separate the dick jokes from the serious delivery of the plot, but that in many arcs important information is given to us through ridiculous gag devices (ball gags?).

The logic of basic sex jokes is extremely simple, intuitive, and easy to understand. The prominence of the pole necessarily implies the presence of the hole. I've talked about that enough in my essays, so I won't go into detail here, but the reason that I wrote my essays in the first place is because of how easy it is to map a procreative framework onto a series filled from beginning to end with phallic gags. As much as I may joke about it, the underlying logic of "the pole and the hole" is powerful and compelling, providing connective tissue to seemingly disparate motifs with ease. When combined with the "sorting" power of the A | B structure, the ability to associate any particular character with any particular motif easily gives us the ability to analyze how a given set of characters interacts with a motif; equally, where the motif sits in Gintama's playing ground of phallicism can inform a given character's dynamic with others.

I've already written at length about the role that wordplay plays in this as well. To save on time, I'll just quote from My Orochi Stood Up:

Gintama’s insistence on wordplay enables interesting meaning to be derived from these dirty jokes and their interaction with other motifs in the story. After all, the name of the series itself elevates the spirit of the balls joke, even if unintentionally, to the same level as the other metaphor in the title: “silver."

But perhaps the singularly most important example is the -tama in Gintama, with its plethora of potential meanings, each of them just silly and dirty enough that you have to take it seriously. Beyond the obvious joke on kintama (balls) and the “silver soul” meaning, we’ve seen that tama is also easily conflated with atama (head), and even with tamago (egg). This is clearly demonstrated with the series’ fixation on beheading leading to the salvation of the soul, and the bodyswap arc hinging on the pun between soul and egg.

In short, it is the comedic aspect of Gintama that fuels the series' own willingness to conflate and play with its motifs, and that validates--provokes--our mad efforts as readers to draw unlikely connections and dig through dirt. Though it may seem more ridiculous on the surface to be taking such a magnifying glass to such a profoundly silly series, it is in fact more justified for Gintama than it would likely be for a more serious series, one where the paths between motifs are not pre-paved, let alone lubricated with shadow squirt juice.

I was recently introduced to a theory of comedy where comedy was posited as an interplay between excess and lack. How this maps on to Gintama is obvious; but one thing that comes to mind now is how easy it would be to characterize our scholarly efforts in examining Gintama, a series one could humorously characterize as "lacking", as a kind of excess. Which is to say, I think Gintama has pulled its penultimate trick on us (because it's still coming out with more stuff for the anniversary. I believe it.) by making us part of its comedy.

[stormikins]

Mass Effect: Failed Opportunities.

An informal rant essay about my opinions and thoughts (and ideas/suggestions) about the choices made in Mass Effect Three. This is all because of this one post, and my friend (@xoshepard) giving me a compliment about my Shepard came back wrong headcanons. So. I’m fueled by validation and rage. A summary of the mentioned post is anonymous regrets that BioWare didn't explore the implications of Shepard dying and coming back and the fact that Liara helped Cerberus in doing so.

Disclaimer: I am a hater in this. I am. No doubt about it. If you like the story and think it’s great and nothing is wrong with it— then I am so happy for you. Truly. I wish I was the same. So, this post might not be for you. Also, this is a rant, and I try to keep it sensible so apologies if it’s not.

Word Count: 3k

TLDR: BioWare flip flops between decisions and choices and never truly settles, disregards choices already made, and leaves players wanting (AND THEIR MOTHERS!) while eviscerating character personalities. Consistency is not in BioWare’s vocabulary. Or dictionary. Or thesaurus.

One of the things that I dislike the most about BioWare's choices regarding this matter is that Shepard starts having these crisis thoughts/questions about if their body is theirs or not, etc. not only in the third game, but at the end of it. The player is literally doing the mission that marks the point of no return in the end, the last of two until the game is finished, and now Shepard is voicing these thoughts. Roughly sixty-ish hours since the beginning of me2 if the player is a completionist. (not to mention how much more time in between playing bc people have lives but I digress). This isn’t a plot hole, it’s a speed bump the player trips over and then the game expects us to get back and get going while asking why our nose is bleeding. Fuck you BioWare.

Now, one could construe this into being part of Shepard's character; squashing down all these conflicting and worrying thoughts to focus on their mission, bc they are a soldier. They literally don't have time for this. But now they're physically confronted with their reconstruction post-awakening haze and/or denial about it all bc Cerberus could be them lying to Shepard bc of manipulation. All right. If that is supposed to be the implication, Shepard putting their mental focus on their mission, why didn't Shepard have this crisis when they were in lock-up for six months, aka where they literally only have time to think?

James having a throwaway comment to Shepard, or another crew member (bc they talk to each other now between missions!), about how he's worried about them, about how Shepard had a freak out some point in lock down, the level of 'freak out' does not need to be expanded upon. Hell, James can just say maybe they passed the time asking each other philosophical questions, maybe about consent and choices and bodily autonomy. It could help lend more weight with Shepard posing these questions during the Cerberus HQ bc these thoughts are still plaguing Shepard. Shepard dies-again-without getting closure-again. This would fall into the cycle theme that the games have.

But, like always, Bioware fails to capitalize on opportunity.

Now. The Citadel DLC. sighs Shepard's repeated variations of "don't want to talk about it" it being the clone and everything else that's happening in the DLC, lends more to the theory of Shepard's supposed to be repressing this all. But the counter point about Shepard having their crisis in lock-up still stands.

What could have been interesting is if Shepard had these identity issues in 2 and potentially in three and given that the Citadel DLC ends with the clone always dying canonically, it can be a pivotal moment for Shepard to realize that they are who they are, different than their me1 counterpart or not (it also would be cool if characters mentioned if the player was choosing choices that an imported me1 Shepard normally would not have) and to have a clarity moment that they are Shepard. This clone and these logs could have provided a clean tying of loose ends of Shepard having identity issues instead of the teammates saying two lines about how they know that Shepard is Shepard and Shepard simply... moving on bc you do all this in the middle of a base attack. The player's mind is already set on defeating Cerberus (finally) and getting revenge, on being so close to the end of the game! It's also OPTIONAL. Yes, the player is automatically entered into a dialogue wheel but the choice to leave without seeing what's on the logs is immediately available.

Another thing the previous post went into was Liara's involvement. Her part in Shepard's reconstruction is not explored in the game. The player never learns about how Liara helped, just that she did and that she lost Feron because of it all to the Shadow Broker. I will not go into the comics, bc 1. I have not read them and 2. If developers must depend on supplemental media to explain key plot points, they are in fact doing it wrong (this is a conversation for another time).

I would not be as bitter about Liara's involvement if the game treated it better. The player has to complete two quests to unlock the dialogue of Liara telling Shepard that she gave their body to Cerberus. Shepard’s renegade dialogue to Liara apologizing about giving their body over is as follows, “all this time, it wasn’t your sources. You knowingly gave me over to Cerberus. You did this to me!” SHEPARD DOESN’T SAY ANYTHING ELSE. JUST SITS BACK DOWN AND THE RENEGADE RESPONSE TO HER SECOND APOLOGY IS TO SAY, “Let me know if you need any more help,” AND YOU LEAVE. WHY IS THIS THE ONLY TIME SHEPARD ACKNOWLEDGES THIS. wow. AND WHY IS IT LIKE THIS? ITS OPTIONAL. I— Again, this could tie into Shepard bottling up feelings and acknowledging them in Me3, could show Shepard as an actual person is the game lets us choose to be mean or turn her off but alas, the player cannot because the game likes ruining Shepard’s character (which I’ll save that for later).

One could say that Liara would go to any lengths for those she loves, whether the player romanced her or not, but in the first game, we have no indication that she is willing to go this far. I have a belief that nothing is 'out of character' if the circumstances are right. Now, these circumstances are right: two important figures in Liara's life die (Shepard and her mother), Liara's only connection to her theories on the extinction of the reapers dies as well, the threat of the Reapers, and all the traumatic experiences she had during me1 and then the destruction of the Normandy all collide together to make it realistic that Liara wouldn't be able to let Shepard go. There is one thing, though, is that this is all boiled down into “I couldn't let you go” and the game doesn't show it. Doesn’t show Liara's descent down into this rabbit hole, doesn't show the switch getting flipped of her turning much more ruthless compared to her me1 characterization.

She does show ruthlessness in some regards in me1, willing to kill her mother no matter their relationship. But out of all the SR1 cast, she is one of the most paragon characters. The game does not show the shift into Liara's characterization. No commentary from Me1 companions about how Liara suddenly shut them out, or from Feron talking about the things Liara was willing to do to get Shepard. No comments from Miranda and Jacob who I do know were part of the retrieval mission about how Liara acted. Liara is just immediately introduced with quoting her mother’s threats. WHICH IS SO INTERESTING! Again AGAIN the game goes nowhere with this. We get optional dialogue from Aethyta about the Matriarch’s being concerned about her but that is optional, and only if the player talked to her in Me2 does she show up in Me3 and deliver said dialogue. Liara herself never confronts this. Even when SHE TALKS ABOUT HER MOTHER. LISTEN— LIARA COULD HAVE TURNED INTO A SCIENTIST THAT WOULD DO ANYTHING FOR HER RESEARCH. TO PROVE HERSELF RIGHT BECAUSE SHE IS, SHE KNOWS IT AND SHE’LL DO ANYTHING LIKE BRINGING SOMEONE’S DEAD BODY TO A TERRORIST ORGANIZATION TO RESSURECT AND YET—

Garrus, on the other hand, gets his new characterization explained. In me1 he already tends to be reckless, ruthless, and selfish. It is no surprise that when Shepard died and the Council buried the truth, he went vigilante. The game shows his new bleak outlook on life bc we find him fighting for his life in a base full of dead bodies and then he explains he got betrayed. We deal with his character arc. We do not deal with Liara’s.

One could argue that could go and show how Shepard wakes up two years in the future and everything is different and confusing. Which I will agree with. If it was purposeful. And I don’t think it is, personally.

She doesn’t stay this new ruthless way. I am not saying she can’t be more than one-dimensional; I like that she can be soft with Shepard and the other companions. But all of a sudden, she, the character whose introduction in Me3 is her popping a singularity and gunning down two Cerberus goons with a cold look on her face, “can’t be that callous” about not focusing on the death numbers in the middle of a war zone because “that’s my home down there”. A home she rarely talks about, and she’s also been in numerous war zones just as bad as this. Liara, who spent more time in digs or collecting intel than with people, feels a sudden connection with her people.

I would like Liara a lot more if they didn’t eviscerate her character, thank you. Don’t take this the wrong way, I love her, I think she’s great. She just has the potential to be so much more.

Like—

Mass Effect for some reason, tries not to be an RPG. They don't give the players a proper choice/dialogue to allow Shepard to be mad at Liara about what she did. Or to stay mad. (I am not going to get into the debate of whether being mad at Liara should be a renegade option or paragon). It would make sense for someone to get pissed at the person who gave their dead body over to scientists to reanimate, but also terrorist scientists. The same terrorists that Shepard potentially fought in Me1 and also potentially discovered were behind the whole sale slaughter of their entire platoon and the torture of the only other survivor of the incident.

(I can’t remember if Shepard ever mentions Akuze to Cerberus. Funny, isn’t it. How the games like to take away Shepard’s agency but not in any compelling way.) 

Besides, simply not choosing paragon options, it’s never mentioned again what Liara did to Shepard, which makes sense if Shepard accepted Liara’s apology. But what if Shepard, and the player, doesn’t? Liara’s forced on the player in Me3 as Shepard potential confidant, showing up repeatedly to Shepard’s cabin to move the plot forward, give Shepard missions/updates. Yes, the player can refuse to get personal with her which I do appreciate it. Like I said, Liara’s actions never get brought up in any meaningful way to help Shepard on a character journey.

Another failed opportunity about Shepard’s character is when the games don’t get into what Shepard is like post-resurrection. The game seems to be in the middle ground of making Shepard different but not still human, but in actuality, they can in the words of Hannah Montana, have “the best of both worlds”.

Me2 shows how Shepard is different now. “I’ve noticed a few upgrades,” Shepard states when talking to the Illusive Man on Minute Man station. Shepard can have multiple hard-hitting drinks in a row along with Ryncol in Dark Star, Zakera Ward. A poison tailored for humans served by a batarian bartender in the lower segment of Afterlife only knocks Shepard out, not killing them like it does to every human before.

That is how far the game will go in showing how different Shepard is, not counting renegade scarring. Which is a waste.

Shepard is The Protagonist. The main character. They have done the actual impossible. They are the Sole Survivor, the Hero of Elysium, the Butcher of Torfan, Savior of the Citadel, repeller of Geth, Collector, and Reaper armies and a host of other incredible achievements. They are a prophet, the damned, a modern-day Cassandra. The tip of the Spear, the Diplomat, the Soldier. Coats in the FOB on Earth says that it means something to the soldiers to see Shepard with them. They are “a tool, an agent with a singular purpose,” TIM calls them. (And a Karen ‘accuse her of classism’).

And yet, when Shepard gets revived—the most impossible of all things (and yes, it’s not like they had anything to do with it, it was Miranda and her team, but the Lazarus project only had one subject)—they are not made further into something larger than life. Something Other. Something that sets them out from the others. Because they’re Commander Fucking Shepard.

They literally have a vision of a dying race in their head that propels them to stop the Reapers. Me1 does a great job of playing with it. The player sees it once in Me2 and Me3, a side mission (Blue Suns: Archaeological Site) and after retrieving Javik, respectively.

Mass effect is all about cycles. The Reaper’s, Saren/Tim parallels, etc. What could have been interesting was instead of the reoccurring dream we have about a child that gets his emotional impact tarnished because of said dream and the star-child, the game does a mesh of the vision, prothean civilization in ruin, and the ruins we see of current civilizations from the missions Shepard goes on. Keep the oily shadows that whisper quotes from our dead teammates, but also have their voices coming from long dead Protheans pleading with Shepard to stop the Reapers, to save them.

Shepard can’t get any escape from the war, from the Reapers in their sleeping nor waking hours.

The game not making Shepard Other and going in the opposite direction—that despite all these upgrades Shepard is still human—would be fine if it was done better. A good stereotype of “I’m only human” is when a character fails. Shepard fails in Me3 most prominently on Thessia. I’m all for having characters fail but only when it’s done not so obnoxiously.

It’s a terrible fight. It is. Kai Leng hides behind a gunship that Shepard took down at least three separate times in Me2. Two of these instances are non-optional (Garrus and Samara’s recruitment, with Kasumi’s loyalty quest being the third). So, Shepard—Commander Shepard who literally destroyed a proto-Reaper—can’t destroy a gunship. It’s insulting how they ruin Shepard’s character in three.

In the end cutscene, Shepard clearly hears and registers that Kai Leng orders the gunship to fire on the supports of the structure and… runs further into the building. One could argue Shepard was trying to get the Prothean VI for the catalyst, but Liara is shown scanning it with her Omni-tool. What did she do, if not copy it? Why would she not? Why wouldn’t Shepard? They’re in the middle of a war zone, with enemies that were just right outside the door. Why stop for a chat here and now? (I know why, the plot demands it and lore dumping— lore that contradicts the lore dump by Vigil in Me1 so I’m even more inclined to not like these proceedings).

Kai Leng is Shepard’s nemesis in Me3 (and I’m forever mad that he is) and he’s supposed to be badass and edgy and able to go toe-to-toe with Shepard. Yet the game shows he can’t. He can’t reach his target because a terminally ill drell stopped him, or he didn’t notice Bau being cloaked in front of the Salarian councilor. (I can also go into how stupid this scene is with BOTH Thane and Bau).

He gets one over Shepard with the C-SEC sky car chase but that doubles back to BioWare ruining Shepard’s character by making them an idiot. Why not hit the brakes? Why not do a couple barrel rolls? Why fire through what should be bullet proof glass because it’s a C-SEC sky car?

Kai Leng can’t go toe-to-toe with Shepard unless Shepard gets dumbed down into an idiot and isn’t someone who reached not only Commander rank but also became the first human spectre. HELLO!?

So, Shepard failing and still being human and fallible doesn’t hit because they execute it poorly via Kai Leng and his stupid plot armor.

Who would be Shepard’s nemesis if not Kai Leng? HARBINGER. YOU KNOW THE REAPER THAT TAUNTED SHEPARD IN ME2? THE VERY FIRST REAPER MADE? THE REAPER THAT WE ONLY SEE—NOT TALK TO—SEE IN THE LAST HOUR OF THE GAME? THAT GUY. (matter of fact, throw in some of Harby’s arrogant lines about Shepard not being able to stop the Reapers in the alternative dream.) Harbinger should have possessed troops like he did in Me2 in the major Reaper battles. Earth. Menae. Thessia. He should have showed up somewhere, boasting about how they’re darkening the sky of every world. YES THAT’S A SOVEREIGN CALL BACK CYCLES! SHEPARD’S VISION IS COMING TRUE RIGHT BEFORE THEIR EYES AND HE’S NOT BRAGGING!? I THINK THE FUCK NOT! If you’re gonna make the Reapers so obsessed with Shepard as shown in Me2 with Harbinger’s comments and making a human looking Reaper, KEEP THE OBSESSION FOR THE LOVE OF GOD! I hate that the Reapers are obsessed with Shepard, Reapers who are above organics, have no weaknesses etc. and the entirety of Sovereign’s brilliant Virmire speech, because it’s not CARRIED OVER!

The enemies should have primarily been the Reapers from the start, and Cerberus the splinter group trying to sabotage the player. Make them smaller. Keep them kidnapping people for troops and biotic tests and lying about Sanctuary being a sanctuary and not run by Cerberus. Continuously have them send assassins—plural! Phantoms and nemesis— after Shepard with Kai Leng at the head of them. Even better if a strike group of baddies show up randomly during missions and watch out! Now Shepard has to deal with them as they fight the Reapers—in the same mission— because Cerberus wants to stop Shepard from killing the Reapers so they could control them and secure human dominance. Kai Leng is kept away from his target because they’re also fighting Shepard where Reapers are. Have them locked into statements until the environment falls apart literally forces them apart. Have them actually be equal adversaries.

Cerberus is introduced to be a mere group Shepard took out in Me1. They’re not all gone in Me2 surprise! Okay that’s fine and yet they not only sunk so many resources into Shepard and had so many cells gone rogue but they’re able to stage a coup on the Citadel! Pardon?? “But our resources are not unlimited, rebuilding you was a significant investment. And a significant risk,” Miranda tells Shepard in Me2. Cerberus kidnapping people on Benning would make sense if they’re scrambling for troops other than the relying on Sanctuary. (EVEN IN ME3 THERE ARE ‘ROGUE FACTIONS’— still a common occurrence for them. It’s never explained if Cerberus is lying about Benning or not). If they have these many rogue cells, again, how can they manage all they do in Me3? Especially if scientists are leaving Cerberus as well, aka the Ex-Cerberus Scientist mission Traynor gives you.

Yet, the player talks more to the Illusive Man than Harbinger in Me3, the leader of the Reapers, and we confront TIM at the end of the game, the most pivotal moment. The moment which people have sunk countless hours into, and we get a power hungry and indoctrinated TIM to… talk into shooting himself or firing a single bullet at him. There is no physical fight between the two. The conversation is similar to Saren’s and again, cycles are a theme, so why can’t we get a Reaper!TIM fight? The player, and Shepard, deserve the choice to fuck him up. This is a military game after all, they’re supposed to be encouraging our aggressive nature.

They ruin TIM but also Shepard.

Shepard never grows and changes like the characters around them, and their resurrection could have—should have—played a part in that. If they’re supposed to remain the same, be a tool for the narrative, make them it. Lean into that. The player chooses options. What would be an interesting mechanic is to make it a struggle for a certain background to get a certain morality. Have Shepard be stating doubts about who they are and if the player is contradicting a stereotypical background (Butcher trying to be paragon, a Hero trying to be renegade), they meet the camera—the players eyes—as they explain their inner turmoil. Make Shepard feel like the tool they are, like they’re not in control of their actions. A renegade overcoming it all and being a paragon hero, or a fall from grace paragon that brings the galaxy down with them. A renegade trapped in a cycle of violence (CYCLE) who can only see the world down the barrel of a gun, or a paragon who continuously chooses kindness. MAKE IT MEAN SOMETHING!

I think I’m done. So.

In conclusion, my love and passion for this game transitions into rage because of seeing possibilities squashed like a bug under a boot. To borrow Star War’s phrase: Mass Effect could be so good if it was good. 

[slugtranslation-hypmic]

Hi Slug!

Could you translate positive my life, please? 🥺🥺

Hello Slug. I hope this finds you well but may I ask if you may be able to translate Hifumis solo, “ポジティブ my life” from the Block Party album? Thank you very much.

Sure thing! Under a cut for length.

The playful tone is crucial to the source, so a similar goofiness is present in the translation. With that said, I'm not adding anything extra for silliness. Some light fluffing on vague lines to convey (what I'm understanding as) the meaning. No attention paid to line length, rhyme, or rhythm.

Heya, friendos! (Hey there, Hifumi!) Hm? Gosh, you seem like a bunch of gloomy Guses today. Wait, I have an idea! Let's play a game! I'm logging in to Buddy Quest and speedrunning character creation so we can get to the open world and goof off! (Heck yeah!) We gotta turn all those frowns upside down. So what're we gonna do? Set off on an adventure to make new friends! I may not be able to claim the hero's sword. I may not have it in me to smile all the time. But my friendships and the good vibes we make together are the best equipment I could ever ask for. Yeah, yeah, yeah! There's no one like my party! We're friends! (Friends!) And even if we lose at the end of the day, we still all have each other. I cast SMILE. It's super effective! Next thing you know, you're one of us--YOU have joined the party! A full, amazing party! (We! Are! Hoods!) If you're a top player? Sweet! Let's live it up tonight! Yeepers, that was a close one. Almost ran out of HP! (Positive! Up! My life!) Or if you're more of a novice? No sweat. We'll carry you! Either way, let's "positive up" my life! (And yours!) [1] All righty! We're kilin' it. Keep it up, gang! Next up: lemme run you through how I "positive up" my life. Step 1: Take a cool selfie, upload it to the character creator, and let the game handle the rest. See? Looks just like me. (Sure does!) Step 2: Forget the haters. If the vibes are rancid, I don't wanna hear it! (Yeah, yeah!) Step 3: We all have tough days sometimes. But you gotta try to smile anyway. Because you're braved and you're loved, y'know? Once you realize how much your friends care for you, I know you'll get back up and keep fighting that good fight! (Get 'em, Hifumin!) Step 4: Sometimes, you just can't get past that next level. But don't you ever give up. Hit that CONTINUE button, you hear? (Positive! Up! My Life!) Because we still all have each other and the good vibes we make together in our full, amazing party! (We! Are! Hoods!) Ah ha! So you're the final boss. [2] Say, you know what? You wanna be friends? (Positive! Up! My life!) We can still beat the game together, and no one has to get hurt this way. So what do you say? "Positive up" my life? (And yours?)

[1] There's a slight joke/nuance here that I'm a bit stumped as to how to convey naturally in English. The terms he uses to describe different playing styles (魅せプ) (lit. enchanting play style) and (姫プ) (lit. princess play style) are evocative of his host role as someone who "enchants" clients often referred to as princesses. This suggests he's speaking to a woman, which ties into the final verse of the song that uses the same format. [2] Not the same "you" he's singing to in the song. The difference in tone suggests it's Honobono.

[copperbadge]

I'm starting to think one reason (of many) you're such a good writer is you think in words instead of mental images. It could make it easier to express yourself in words to other people. When I write I have to try to fully express what's on in the three dimensional, surround sound smellovision cinema in my head, and I will never be able to do that.

I do wonder -- whether for good or ill it has definitely had an impact. (For new readers, I have aphantasia, the lack of a "mental eye" or inner visual world, which you can read more about in the "aphantasia fantasia" tag; it's disproportionately common to neurodiverse individuals, along with poor autobiographical memory). I don't know if it's better training for expression, because without knowing how words invoke mental images I don't really know how effective I'm being, but I think it does make for easier first drafts. And probably some of the popularity of my fanfic in specific is that it allows people to project a good deal onto the story/characters, because I tend to keep the visual details vague.

One of the longest-running complaints about my work is that it's much of a muchness, all my characterizations and stories are the same. While on the one hand that's obviously not a compliment, I think that is also attached to the fact that I'm not very visually specific, so not entirely my fault; if people are reading the same things into my work over and over it's probably because of a lack of imagination on their part as well. (I've tried to work on this as a skill, but I'm aware that haters gonna hate, so I don't take envy-driven criticism too much to heart anymore.) I think it's less homogeneity than it is simple vagueness.

But yeah also I would imagine if you're driven to give a very specific visual impression it would be SUPER frustrating if you feel like you can't, either because there aren't words or because you don't feel you have the skills yet. A lot of skill in writing is just practice, but "just practice" is a real minimizing phrase. I'm not someone who subscribes to the idea that talent doesn't matter, because I think it does; I think it's much easier to practice when you derive pleasure from the thing you're practicing, which I think is linked to talent.

Yeah, I dunno. Certainly it explains why most of my early adult writing was in theatre, where you're leaving a lot up to the designers and director in any case.

Rutherford & Fry did a podcast episode about aphantasia that I should probably get back to listening to, but I can't listen to much of it at once; some of it is the sense of being perceived, but some of it is also envy, because they talk to someone who has aphantasia but not ADHD and she's like "Yeah my mind is super quiet, it's nice" and I may not see images or hear noises in my head but still somehow manage a truly inconvenient level of chaos there. :D

[yandere-toons]

Someone: *says something rude about the reader*

Yandere: You talk a lot of shit for someone who's house is so flamable.

Characters that have this vibe:

Patrick Hockstetter

Kai (Ninjago)

Tom Lucitor

Bridgit Pike | Firefly

Iblis (Blue Exorcist)

Smaug

Matthew Patel

Deadpool | Wade Wilson

Godzilla

Hades (Hercules 1997)

Snotlout Jorgenson + His Monstrous Nightmare Hookfang

Ruffnut & Tuffnut Thorston

Zuko

Jesse Gemstone

Lili Zanotto

Red Son (Monkie Kid)

Eric Cartman

Mr Piranha

Vaas Montenegro

Coriolanus Snow

Lord Garmadon

Roger the Alien

Stewie Griffin

Negaduck | Jim Starling

Bender Bending Rodríguez

Rocket Raccoon

Cherri Bomb (Hazbin Hotel)

Blitzo

Rin Okumura

Five Hargreeves

The Joker

Shelby Brothers

Rob (The Amazing World of Gumball)

Lili Zanotto

Judge Claude Frollo

Mushu

Daemon Targaryen

Joffrey "for someone whose head is so cuttable" Baratheon

Sheldon J. Plankton

Bowser

Emperor Zurg

Emperor Nefarious

Handsome Jack

Trevor Philips

Gremlins

Bakugou Katsuki (early on)

Dabi

Duncan (Total Drama)

Heather (Total Drama)

Honourable Mentions:

Gru + Minions, Vector (Despicable Me), Megamind (when he was villainous), Doctor Nefarious, Gyro Gearloose and Technical Boy would consider arson too lowbrow. In their tech-savvy minds, shrink rays, piranha guns, dehydration guns, atomisation, robot and clone armies and breaking every bone in the person's body all send the correct message.

"Why settle for a house?" wonders most iterations of the Doctor (Doctor Who). "Why not drop them on some desolate planet or in some hostile universe where they die over and over again?" Bill Cipher seconds this notion.

Jack Frost (Rise of the Guardians) would freeze the doors and ice the floors and windows, effectively creating a giant icebox as fires cannot stay burning in his presence.

Dark Helmet, Kylo Ren, Armitage Hux and Darth Vader would vaporise the person's house (and planet to boot) from space. If the person was off-world at the time, those who are Force or Schwartz users will proceed to Force-choke or laser the person even after they have lost everything.

Scar (The Lion King) would arrange an accident that is tragically and unavoidably fatal while Shenzi, Banzai and Ed would maul the person in full view of a crowd.

Gaz Membrane is constantly rude to anyone who dares to be her obsession, but if anyone else tries the same rudeness, they will pay. Zim and the two main Tallest also have shades of this.

Albert Wesker (Resident Evil 5 era): Look, another test subject for Uroboros has presented itself.

Urdnot Wrex, Grunt (Mass Effect 2) and Wolverine are not the burn-your-house-down types. It would be too easy for the person to learn nothing from the experience, such as how much they should be afraid of running their mouth to the wrong stranger in the future. These three will knock the person out before they even finish the sentence.

Yzma has exactly the right potion for this human flea, except that she adds an extra four or so steps to the plan.

Lord Hater invades the scoundrel's home planet with the support of Commander Peepers and his army of Watchdogs, or he may blast the world to smithereens with a laser.

Lord Dominator delights in crushing this pest's home world with her drill and making them watch every life on it come to an end.

Marvin the Martian said it best: "Be polite, or I'll vaporise you."