Shiv weaponises her vulnerability to victimise herself to force Tom into forgiving her [1][2] + doesn't respect his boundaries [3][4] when he needs space from her.

1. In 1.10 Shiv comes clean to Tom on their wedding night about her cheating on him, AFTER their marriage (despite Tom asking her beforehand and giving her a chance then). Shiv weaponises her vulnerability into forcing Tom to forgive her, bringing up how when they met she was a "mess" and in a "very bad place" and how she needs him and also tries to gaslight Tom about their relationship never being monogamous. He forgives her because he's in a difficult position (divorce on the same night as marriage?? She didn't give him an out to call off the wedding beforehand and waited until after he was secured), he loves her, and he's forced to sympathise and accept things.

2. Shiv only apologises to Tom when she sees how cold he's being with her in 4.8. There's real danger he's actually done with the relationship. The kicked dog isn't returning to heel. She apologises. He doesn't accept it (you don't have to accept an apology, especially if you're still upset and someone is tryna force an apology on you because THEY feel bad and want to alleviate their guilt and return things to something that THEY'RE comfortable with). She uses the fact that her dad just died, which doesn't change the fact that everything he said in the prior fight was true. Their relationship had been shit for ages prior to Logan's death, therefore Logan's death doesn't excuse the rest of the relationship, and he's still immovable. Damn, he's always comforted and folded to her before, he's not doing that right now. Shit. Bring out the heavy. I'm pregnant and it's yours! The ultimate card to reel him back. He wanted a baby right? But he doesn't even believe her now... Why should he care anyway? How much has she ever cared about him?

3. In 4.7 Tom walks away from Shiv and goes to the balcony, needing space, telling Shiv he's tired. She doesn't respect this need for space and corners him on the balcony, literally not allowing him any reprieve, and actively mocks him for being exhausted, pressing and pressing him until he snaps, despite the fact he didn't even want to fight in the first place. He needed space and wasn't allowed to have it.

4. Tom is exhausted and stressed out of his mind in 4.8 with his job (something that means the world to him and yet also something Shiv has never taken seriously - and how could she understand the importance it holds for him when she's a nepo baby). He asks Shiv to talk about this another time and that he can't do this right now. She doesn't respect his request and presses her needs above his and takes him aside again and isolates him, and then acts surprised and offended when he doesn't respond how she wants him to. Ironically if she had actually respected him asking to talk another time when he wasn't so stressed, she might have gotten the results she wanted: Tom back in her pocket.

Broke: Acknowledging that a character who is an objectively terrible person is also a complex and intentionally well thought out individual with different levels of nuance you can empathize with in some ways while not in others is immediately “woobifying” or “poor little meow meowifying” them.

Woke: “This character is a bad person” and “this character is still a person” are two statements that can, should and do coexist and admitting that they exhibit nuance and depth and are more than just their bad actions doesn’t immediately excuse or condone their bad actions or mean that you’re ignoring or trying to soften the canonical version of the character.

Bespoke: That’s the whole point, that’s always been the point, to be made to empathize with horrible people so you can understand that they can be anyone, that bad people can be likeable, can be interesting, can be human, are human, and it’s scary to think about all the ways they’re just like you and all the ways they’re just like everything you hate, forcing the use of critical skills in media analysis, forcing a confrontation of the duality of man.

Whatever Level is Above Bespoke: But sometimes, yeah, sure, maybe they are a poor little meow meow, what are you gonna do, get a lawyer

Anyway, I can't stop thinking about this scene in the pilot with Jax, Kinger, and Gangle—

🎪TADC Pilot Spoilers Below🎪

I'm so f#cking insane, guys! I know I'm simply overthinking (as one does when they hyper-fixate), connecting dots to make a non-existent unicorn... but hear me out~!

Remember this part where Jax ran so fast, leaving Pomni and Ragatha in the dust, after seeing Abstracted Kaufmo and grabbing a bowling ball?

I was 100% assuming Jax was gonna hide and save himself but he seemingly just rushed to Kinger and Gangle, cos he STOPPED RUNNING WHEN HE FOUND THEM.

And my a$$ at the time, trying to be SO NORMAL ABOUT THESE THREE, was like:

"Okay LMAO neat, they've just given away the best place to hide, Jax is totally gonna f#cking jump in there without them and those two are gonna comedically get trampled on maybe??"

And then, Jax hears Kaufmo growling in the distance and what does he do???

HE BASICALLY, IN THE MOST A$$HOLE WAY POSSIBLE, SHOVED "HOO-HA" AND "CRY-BABY" INTO THE HOLE FIRST BEFORE JUMPING INTO IT HIMSELF?!?!

Like, do y'all see?!?!? why iM sO inSAnE (affectionately) about these three?!?!

And later Jax tries to play it off like, "I'm not even here for the adventure, I'm just here to hide from the—"

WHATEVER MAN! WE ALL KNOW YOU SECRETLY CARE ABOUT YOUR HOMIES, KINGER AND GANGLE!

It's actually so important to me how flawed Penelope is you don't get it. She's complex and she's kind and sweet and caring and loving and bitter and manipulative and insecure and she's young and hurt and fucking up and making mistakes and hurting people and loving people and handling things in the worst way possible with the resources she has on hand and she's allowed to.

So often for a fat (and I say that within the context of the show, Pen is a fat/pus sized character within the narrative even if Nicola isn't) character to have any storyline outside of mother or joke they have to be the perfect victim. To be fat is to be victimised by society to some degree, it is to be told you are unloved and unwanted and unworthy without anyone saying those exact words, we all know this even if we don't want to except it. It's why almost every fat character is bullied in some way even if it's passed off as a joke, and they are just expected to take it because to actually acknowledge the pain and hurt and damage that causes is to acknowledge their humanity.

There is no space for complexity when you do not recognise the humanity of a character, there is no room for mistakes or grace or forgiveness in a narrative when the character is presented as lucky to simply be there. This goes doubly so for romance, as rare as it is to even see plus sized girls as a romantic lead, when they are there is no room for mistakes, the standards they are held to are so vastly different because they can't fuck it all up, they have no room to make mistakes when people question why they're even there in the first place.

But not Penelope. She fucks up so many times over, she creates half her own problems trying to fix things or make herself feel better. It dose not shy away from the damage and underlining issues and insecurities the life she has lead has left her with, and it's sympathetic to be sure, but what she dose with it isn't. Because fat people do not have to be the perfect victim and honestly most of the time are not. Because when you tell someone how little they are worth and how out of place and undesirable they are at every turn and expect them to internalise that, especially a young girl with very little power at her immediate despoil, it doesn't always come out in a very nice palatable way. It doesn't always create nice sweet uncomplicated people who cry a little when insulted but otherwise brush it off. It creates people like Penelope, it creates anger and resentment and bitterness and a need for control.

Whistledown is so many things, not all of them negative, but it is the cause of so many problems in her life after she made it as an attempt at a solution. It has caused her to hurt people and betray people and lose some of the very few genuine connections she actually has. She manipulates people and misleads them to keep her secret, because keeping a secret like that will always result in that. Her motives are sympathetic, she rarely dose anything to bad without reasoning, she has all the excuses in the world and still at the end of the day she fucked up. Her and Eloise are the second love story of the season for a reason. She adores that girl so much and she is absolutely miserable without her, as Eloise is without her. They love each other so much and there is so much pain between them now, they're practically crying every time they look at each other. And even tho the situation was complicated an messy and not completely her fault, she did in a way cause it. She's hurt people and she's hurt herself. And I love that.

Because she's a main character. We know her and Eloise will make up even if it isn't the way it was before (arguably a good thing but that's a different post.) Because she's a romantic lead, because we know, even if we don't know how they get there yet, that she will get her happy ending with the man she absolutely adores and who loves her just as much. It will not be easy I don't want it to be easy, Colin has every right to be angry and hurt and betrayed and he deserves to have the space to say whatever it is he's feeling and to have a negative reaction, but he will forgive her. Part of that is just because of who he is and the relationship he has to her (mandatory Colin appreciation moment) but it's also because the narrative has given her room and grace to be flawed.

There is so much to love about Penelope. She's so intelligent, and she's funny, she's a good listener, she makes people feel heard and important, she's kind, she's attentive, she's romantic, she's creative, she's beautiful. She is a victim and people and society do hurt her, but that's not all she is. She's given the space to be more and still be forgiven and loved just like anyone else. Because her actions is what she's apologising for not her existence. She dose not need to earn her place in a love story just because she's fat, it's her actually flaws and mistakes that exist in abundance no matter how sympathetic some of them might be, that she has to make up for. And I adore that and her.

You take away so much of her character and her agency and her complexity when you say she did nothing wrong or that she's the absolute devil. Let her be flawed, let her be someone trying their best and failing at it, let her make mistakes. But give her some grace, for once the narrative is. Her happy ending will come Bridgerton is a romance show, but she'll have to work for it. Colin and her will work for and earn their happy ending together, because they love each other and because of who they are and what they mean to each other they will find a way to make it work, but also because the writers let them and her find it.

Love how Lucifer just manhandles Adam during their 'fight' despite everyone else getting their asses kicked. Plus him effortlessly destroying him when Charlie's in danger is really sweet.

gawd me too anon me too

that was everything me to me. like everything. It was built up so well too

we spent the whole season building up alastor as this massive powerhouse, eldritch, nobody messes with him. Only one who tried picking a fight with him (Vox) got utterly humiliated and everyone else was clearly outclassed. Except for Lucifer where Alastor merely just went with annoying instead of power challenging. Like we got vibes okay yeah makes sense that the King of Hell isn't intimidated by anyone, even if it's alastor, but Alastor got TWO wtf moments in Dad Beat Dad one with Husk and one with defending the hotel

other than that, it was pretty much, nobody messes with him cuz he will mess you up

and he fights Adam evenly sorta for a bit before Adam pulls out the "I'm an angel which is stronger than any demon" card and alastor gets his ass handed to him.

Like what a way to set up how strong ADAM is, having him beat Alastor. And then no one else in the hotel is as strong as Alastor was, so everyone's struggling. Charlie at least gets one good hit in but her inexperience kicks her in the ass and then Lucifer just shows up and

like hot DAMN that was just one hit! He broke Adam's mask, the force was enough to send him FLYING across the roof top, and bounce so hard against the billboard he BROKE THE SKYLIGHT

That was just a "HANDS OFF MY BABY" warning too, like LOOK at that face, that's not a "fight me" face it's a "if you touch my baby again, I will screw you so bad your bones will need therapy and you never recover"

Lucifer not even .2 seconds later, just upon seeing Charlie

and then yeah, Lucifer was NOT taking the fight with Adam serious at all, like the dude was taunting him, mocking him, dodging all of his attacks, just shapeshifting like Adam was a joke LIKE LOOK AT THIS

Lucifer isn't even scared, he's just "oh there's a wall there"

His FACE IM DYING he's legit like "wowwww you just tried shoving me into a wall? really? didn't have any other ideas? Soooooo original of you. I will mock you now"

HIS HANDS ARE BEHIND HIS BACK HE FOR REAL SAID HE COULD TAKE ADAM WITH BOTH HANDS BEHIND HIS BACK

rewatching rn for the screenshots, he's legit just shapeshifting for the fun of it. 70% of the time nothing has happened, he's just dodging adam and shapeshifting while doing it, like he doesn't need to be doing that this is 100% mockery.

And then the iconic

like omgggg this is soooo satisfying and amazing to watch. Like the set up of Adam being powerful was great, and then we just get this absolute trolling from Lucifer cuz he really doesn't care about Adam

And listen the trolling is great and all, but when Adam makes the mistake of not heeding Lucifer's warning of messing with his baby, and then does it a second time

RIP Adam just getting one shot-ed like that but hnnnnnggggg we got to see Lucifer fully pissed and it was GREAT

And somehow my favorite part wasn't even watching Lucifer go absolute ham on Adam, it was that even at his absolute most rage fueled moment, snarling like a beast where he was going to and fully intended on making good on his threat about messing with his baby

just one shoulder touch from Charlie and he's immediately chill. Like it's instantaneous, like how much do you love someone to be able to be absolutely livid, about to incinerate someone levels of rage only to immediately be "o oki! No more violence!" the second that person touches you???

Ugh I love them so much! Like everything about that fight, but especially how Lucifer can just go from absolutely the most dangerous person in one second and then OWO SOFT the next just by looking at Charlie

oops this post got long... IMSORRYYYYY other than "More than Anything" and the phonecall with charlie this is one of the scenes I replay the most, I love them so much

Characters going absolutely feral over loved ones is just aasdfadffalklkmafdjalsg 👌👀👌👀👌👀👌👀👌👀 good shit go౦ԁ sHit👌 thats ✔ some good👌👌shit right👌👌there👌👌👌 right✔there ✔✔if i do ƽaү so my self 💯 i say so 💯 thats what im talking about right there right there ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ mMMMMᎷМ💯 👌👌 👌НO0ОଠOOOOOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ👌 👌👌 👌 💯 👌 👀 👀 👀 👌👌Good shit

idk if this is a hot take but I don't think Armin is friendly. I think people find him generally off-putting. Like, people think he looks sweet, but also find him strange; for the topics that interest him, the way he didn't stray far from Eren (& Mikasa) socially, and his general demeanor.

I think that as Armin established himself more as he grew up, he developed better interpersonal skills that compliment his rhetorical prowess. I think he's the type of person who sees value in life and in minimizing harm. He offers kindness to his friends and understanding to all. But I don't see him as particularly "friendly"

I think Freminet has some of the most interesting dissonance in his self perception of any Genshin character.

Like, of the Hearthlings we know, he's one of the most emotionally mature and intelligent. Lynette might still have him beat, but after playing her hangout... I dunno. I think they're tied. Lyney is Crumbling, Alrecchino is. Well. Arlecchino. Everyone else is a deeply traumatized child or adult and Freminet seems to pretty regularly be people's emotional support. His character stories talk about getting his vision by saving a bunch of other kids on a dive that went bad. The Selkie event literally had him being a therapist for a grownass woman, citing his past experiences with all the other Hearthlings that have died or killed themselves. And he handled that situation WELL. Yeah, he seems to live in a fantasy, but goddamn he's alive and a lot of people in his position aren't so clearly something is working.

Either his or Lyney's character story talks about the time Freminet had reached out to Lyney to try to ease his burdens, which resulted in Lyney blowing up at him. That probably contributed to Freminet thinking he's not good at it, but I think the reason Lyney reacted so badly was BECAUSE Freminet is actually a good support. He can't allow himself that from the little brother he's supposed to protect.

Freminet seems to both cry and dissociate often, but like... Kiddo you are in fact the only person in this family actually processing your emotions. Lynette dissociates 24/7. Arlecchino. Lyney lies and tells everyone he's fine and would literally rather die than admit otherwise. In comparison, Freminet is doing FANTASTIC

Freminet also gets a lot out of helping people! Like anyone, he needs to feel useful and needed. He seems to be an excellent mentor to the younger Hearthlings and perfectly competent on his own, but when you put him in a room with Lyney and Lynette who baby him and insist that THEY take care of HIM, he withdraws into himself.

Like, Freminet by himself feels like a young man and Freminet with the magician twins feels like a teenager. I have no idea how old he actually is. Logically, he would be OLDER than them! He's been with the House much, much longer and his experience shows. I think it's fascinating that they love him SO MUCH and yet, they just Cannot let him help them. Which is hurting him.

(Lynette is much better about not babying him and that is probably why their relationship is so much better than Freminet and Lyney's. Also why she keeps having to mediate between them. Because Lyney charges off trying to Fix Everything and that just makes Freminet feel useless and he doesn't want to get in the way and- you get the point)

Idk. It's hard to tell what things the previous director said to him vs what Arlecchino has said to him. I'm inclined to think our Arlecchino was the one that said he cries too much, but in a "crying in front of your enemies will get you killed" way and she herself is too fucked up to realize how "you cry too much" could be damaging.

Also I try not to consider gameplay stuff when it comes to story, but Freminet also has some of the most BRUTAL animations. He SMASHES HIS EMOTIONAL SUPPORT METAL PENGUIN INTO HIS ENEMY'S FACE. He doesn't think he's the most amazing fighter, and by Fatui standards he probably isn't, but he is winning fights against most grown men.

Tldr Freminet thinks he cries too much and is a burden and isn't good at helping people when he's actually the most mentally stable Hearthling send tweet

Love how in the hunter exam, Illumi sits at the front while Hisoka sits at the back. It says so much about their personalities.

The obvious that Illumi is akin to an A+ student. He has his hands on his lap, hes at the very front of the room, and it hints to his personality as a very blunt and forward person.

Meanwhile, Hisoka sits at the back with his hands crossed. He's quiet, he keeps to himself when he doesn't want to be the center of attention. Also very much hints to his shyness thats revealed later!

Bruce is actually really attractive, and I have enough reasoning to make a list

He's:

Tall (. Tall enough to hit his head on the vault doorframe)

Long-legged

Has a straight nose bridge

Has high cheekbones (more noticeable in 2nd pic below)

Has a strong jawline

Sharp eyes, but they aren't small (plus eyebags if you're into that)

Overall, he has strong, attractive facial features

Has broad, refined shoulders. You can tell he works out (or he did, when he was alive)

Even has a thick, muscly neck

He has MUSCLE. Is SCULPTED. NOICE. VERY NOICE. (nice arms. Nice shoulders. Nice neck. Nice legs. Nice butt-)

(There are actually panels where you can see some of his muscles. Other than those already shown here, he's got bricky thighs-

-and in the panels where we first get his name dropped, he's got those shoulder blades too-)

The one time we see him smile, and he actually has a scary one

Has small, kinda sharp pupils, and his eyes remind me of a cat. We only ever saw him tense or defensive, so his resting/listening face is really cute

Other than the physical appearance stuff, he also:

Takes shit without batting an eye (patience, knowing it's just how Kudo is, etc)

Kudo being all "Cut the crap Bruce and give it to me straight", after Bruce tests his blood and is rightfully Concerned because they just faced AFO

Put up with Kudo's experimenting and testing over Yoichi's transferable Factor

Did ya'll see the look on Kudo's face when he realized he had Yoichi's Factor/will? Kudo was going to start in nonsense and Bruce just dealt with that.

Also something I noticed when looking back at the images here; Bruce has bandages on his arms in the void. But not when he faced AFO in the sewers.

Were he and Kudo cutting their arms open in their experimenting over Yoichi's theory? Is this why Kudo has two gauntlets instead of his one? Why we never see his bare arms in the void? That he always keeps his arms down so there's no slip?

Is smart enough to run blood tests, plus has enough common sense to pick Shinomori as his successor

He picked a guy who avoids society, has an Ability to detect danger so he can always stay away from AFO, is also a coward so he's never going to go throw himself into danger, even without knowing instinctively he stands no chance, etc.

Meanwhile, Kudo chose Bruce, who he played Hot Potato Yoichi with; but he did also trust Bruce, and put the only pure combative Ability in OFA through Bruce.

These two made their choices based on what they valued and saw the Factor needed.

Is logical, analytical, and calm.

He tried advising Midoriya on their Abilities in One For All, especially his own.

Midoriya then tried ignoring him about using Fa Jin for the first time, but found he was right, thinking: "Dammit!! I had [Lady Nagant] right where I wanted her, but... ugh! The Third was right. My parallel Quirk processes are all screwed up!" (ch. 314).

Plus, when Midoriya fixed his processing mistakes, Bruce was analyzing the way he reached his new conclusion. Pure facts, no bias, very calm, just saying it as it was.

We never see him panic. When he's caught by surprise in the sewers by AFO, Kudo, and Yoichi's little bubble event, he immediately reacts. He doesn't falter, he just knows he has to do something right now.

Was more willing to listen than Kudo to Yoichi's beckon, and probably was just following Kudo's rejection of Midoriya

While we don't see Kudo's face, we see Bruce's eyes when Yoichi calls on his heroes. Bruce was more open and receptive, or at least more impacted.

Bruce was also the one to start talking, while Kudo just kept quiet.

He actually communicates a lot

When Yoichi called them to support Midoriya, Bruce started talking to paint a picture of why they thought the way they did, so Yoichi understood where they were coming from.

(Though he seems to beat about the bush sometimes, since Kudo spoke up to be direct on how they couldn't just put their trust in some starry-eyed teenager. Plus, when Kudo tells him to just tell him what's wrong [double Factors])

When Midoriya first used Fa Jin against Nagant, Bruce came out just to tell him he knew what he was trying, but that Midoriya wasn't ready; and Midoriya found he was right. Midoriya just didn't want to listen to him then.

He asks Kudo for clarification after finding Kudo had two Factors in him after the sewer incident ("Just to be sure, All For One didn't touch you, right?") Kudo knew him well enough to go "stop beating around the bush and tell me", so Bruce was probably gonna start with questions, theories, and trying to understand everything in general, before saying "yeah you have two Factors. Don't know why".

Is strong-willed and loyal.

He followed Kudo, even to death, carrying on the cause he started until it ended with him.

Plus, when talking about how AFO needs a strong will to override OFA's own, we first see Bruce, Kudo, and Yoichi.

AFO couldn't steal OFA because the will was too strong for him, and that was back during Banjo's time. Since Shinomori never actually tried opposing AFO and just hid, we can assume the first Three (Yoichi, Kudo, Bruce) already had an accumulation of strong willpower that made OFA un-stealable. Those three are a strong enough foundation, and the main wills, that the other users just become bonuses.

Kudo, also saying that Midoriya needs allies with the same will and drive as him... hey Kudo, you're talking about yourself and your old allies, aren't you? That's why you look at Yoichi and Bruce when you say this.

Not only is Bruce attractive, but he's got good character. THE END.

i keep thinking about bad's vacation outfit. mostly, i keep thinking about him not wearing armour.

bad is, fundamentally, not okay rn. his son got kidnapped. the code attacks are starting again. people keep going missing left and right and skeppy isn't here but he's been missing him from the start. he lost the election by a single islander vote. there's been a lot of pressure on him for a long time, and he's finally starting to crack.

the thing about bad is that he does NOTT talk about his emotions. he's silly about it. he plays games about it. he will never answer a straightforward question with a yes or a no, not unless he's lying. when forever asked him he was okay, he said yes.

i think... there's really something about him, repeatedly, saying he's on vacation. sure, yeah, take a break, but he keeps throwing himself into danger anyway, he's still taking care of the eggs. he's silly with it, but i don't think his "vacation" explicitly means "i'm taking a break." I think it means "i'm not someone you can rely on right now." what? not being at the top of the island/egg defence squad because he's falling apart at the seams? :D nahhh he's just on that vacation grind! look at him! he's so silly! he's building skeppies and he's being so silly !

and. god. the way he's absolutely clinging to skeppy right now. i get the sense that he takes a lot of comfort from skeppy, just from the existence of him. can you imagine being alive has long as bad has? losing and losing and losing and losing, and then you finally find someone you can't lose? skeppy is bad's emotional support diamond and he is Not There to emotionally support him. bad keeps throwing tantrums when people ignore him, and he keeps building skeppies.

he's never going to say he needs help. he's never going to say he's not okay. he's going to say "i'm not crazy" and "i don't have an obsession" and "yes i'm fine" and "i'm on vacation" and not wear his most protective armour. the ARMOUR. bad boy halo the most paranoid parent on the island keeps running around with several eggs at his heels when he's wearing only enchanted sunglasses and boots. WHEN THERE ARE ACTUAL CODE ATTACKS. WHEN THE CODE HAS THE ! SWORD. if "i'm on vacation" means "i can't help" then the lack of armour is a physical, visible reminder. it's the closest he can get to saying "no, i'm not okay."

and man.manm an man. the whole thing with dapper right now. dapper is the only one who really knows the extent of bad Being Weird right now. pomme has a good idea of it, but when she asked about bad "is he going insane again?" dapper's response was "he never stopped." i've seen lots of talk about bad needing dapper more than dapper needs him (and its TRUE. god. it's so true.) but dapper is also! not doing okay! kiddo was very recently kidnapped! he takes after his dad and doesn't overtly express his distress, but the way he was scared of getting too close to elquackity at the talent show... the way he and pomme huddled together when bad left them alone for an hour... he's watching his dad fall apart in front of him, and there's nothing he can do about it.

from a roleplaying perspective too i LOVEE how bad is slowly, slowly ramping up the skeppy obsession. he's clinging to sanity so he can be a good dad to his kids, but his kids are so mortal. so fragile. bad isn't; bad isn't wearing all of his armour. and skeppy isn't; bad is placing more skeppies around the island. i adore this man's roleplay i hope he gets WORSE

i need people to actually stop and think logically when it comes to fictional characters. more specifically, when it comes to astarion.

it’s frustrating when people only talk about him in a sexual way and reduce him to “the hot sexy flirty vampire” or “the bear guy” (he was used as an EXAMPLE in a livestream, it’s not even canon in his lore) and view him as someone who “loves flirting and sleeping with people” when he does NOT. he canonically has sexual trauma, was forced to use his body to seduce people, got punished whenever he didn’t listen and is STILL suffering from ptsd after years of abuse and torture (already kinda spoke about this here).

it’s also frustrating when people hate on him and reduce him to “horrible evil heartless cruel annoying bastard” and act like you’re a shitty person if you like his character and must automatically agree with everything he’s done when you absolutely don’t?? he’s a FICTIONAL CHARACTER IN A FANTASY GAME, you can enjoy the complexity of his character and appreciate his character development while also acknowledging his flaws and not approve of every single thing he has ever done.

but before i continue, everyone should watch this scene. many people haven’t seen it because you have to pick very specific dialogue choices when astarion’s siblings approach you at camp. it’s brutal and heartbreaking but this is where he talks about what cazador did to him when he punished him for not listening to his orders. and yes, it’s bad. like really bad. this is just the first part, but the rest of it is more intense and it’s in the video:

“once - in the first decade of my slavery - i found a darling boy who i couldn’t bare to bring back to him. so i ran, instead of hurting that sweet man. after cazador caught me, the bastard sealed me, starving, inside a dusty tomb, all on my own, for an entire year”.

i wish people could actually just try to understand him and his backstory before reducing him to something he’s not. he’s not this one-dimensional “chaotic evil villain”. he’s not this “flirty sexy vampire red flag bad boy” he is SO much more than that. he is so complex and well-written and it’s so weird how people ignore it.

instead of constantly focusing on how he acts at the beginning of the game and saying “astarion is so mean and cruel what a horrible guy who doesn’t care about anyone but himself”, why can’t we talk about how he was forced into doing so many horrible things that he never wanted to do and how his master punished him every time he didn’t follow orders to the point where it utterly broke and destroyed him? he lost his freedom and bodily autonomy. he was forced to sleep with people and then lure them to tragic fates. imagine how sick, disgusted, guilty and horrible he felt all at once. it made him numb, empty, angry and scared even when he was far away from cazador, because that type of pain and trauma never leaves you. he was surrounded by cruelty for so many years that he responded with cruelty in many situations. he hated when people tried to be the hero or make false promises to save someone because no one ever saved him. no one even tried. he had no one and nothing. he was used to constant disappointment and loneliness. he was treated like an object rather than a person. of course he’s going to be bitter because of that. how can you seriously expect someone who only knew a world of cruelty to see sunshine and rainbows and be the sweetest person you’ve ever met? he’s upset, he’s angry, he’s hurt, he’s bitter. does that make every action of his okay? is it an excuse? absolutely not. and no one said that it is. his own life was being destroyed and he also destroyed others at the same time. it’s horrible. but everything cazador did to him explains why he became like that.

but the moment you actually start to treat him like a person, you can immediately see things start to change. that is literally the only thing he ever wanted. that’s why the scene you get after the drow interaction at moonrise is one of my absolute favourites. i know there’s a different version of that scene (if you don’t talk to the drow) where he instead admits he had a plan to seduce you but then fell for you, but the reason i prefer the drow one is because it feels really meaningful and important for his character in regards to consent and treating him like a person. like it’s just such an important conversation to have with him. obviously the other version is still really sweet when you think about the romantic aspect of your relationship and it’s nice to hear that he’s fallen in love and tells you that you deserve something real, because he’s never had those sort of feelings for anyone. it’s really beautiful. but i love how the drow version of the scene could actually work for both platonic and romantic relationships with him if that makes sense? it’s important to him because you made the decision to actually treat him like a person, defend him and allow him to make his OWN decisions (something he never had with cazador). he appreciated it so much that he decided to come up to you in the middle of the night and thank you, and then he felt comfortable enough to be vulnerable and open up to you.

at the start of act 3, you already start to see how much he’s changed. if you give an orphan child some food, he approves. when you first met him, he wouldn’t have. he probably would’ve felt bitter; angry to see someone stop for someone else when no one ever did for him. but because you showed him basic respect and kindness, he started to realise that there is good in this world and people do care. it’s not just evil and coldness and cruelty. he only believed there was because of how long he suffered with cazador. there is literally a scene where he tells you that no one has ever cared about him or been kind to him and that no one else has a heart like you. he starts to find safety and comfort in you. this is why it’s so beautiful to see how much he grows and changes and it also shows that he genuinely loves and cares for you too because he’s trying. he’s really trying. you are able to convince him that he can be better than cazador and he believes you after everything you’ve done to help him. it’s going to take a very long time for him to heal after everything he’s suffered, but the fact he has already started to try and be a better person is such a massive thing. obviously it doesn’t erase what he’s done in the past and it doesn’t automatically “fix” him, but the fact that he’s trying and he wants to be better tells you more than enough about him. i am so proud of his character development and growth and i really hope people start to understand him and appreciate him more.

Let's talk about something else! Big Hero 6! Remember in Big Hero 6 when Hiro calls back to Tadashi's advice to "find a different angle and solve your problems?" And he specifically says "use those big brains of yours."

And it's like, that's great for the other three, but Fred doesn't exactly have the same intellect as the others. He's just a fanboy.

oh but then the way he solves his problem is by realizing that his suit's arms are not his real arms, and he starts spinning a sign, like he does for his day job.

And it's like, the strength Fred needed was to just remember that he's not an actual fire-breathing mutant lizard superhero. If he were, the nanites would be ripping his arms off. But he's not. He's a normal guy who knows how to spin signs.

So this super-geek who clearly thinks way too much about comic books wins his little battle by stopping thinking about comic books for like two seconds so he can just use the skills from his mascot day job.

I love that.

thinking about how eiji's a pole vaulter and how ash talks about eiji "flying" and how eiji's associated with bird imagery and how eiji's free (unlike ash) and how eiji comes in on a plane and leaves on a plane and how ash cannot fly, ash cannot be free, how nyc is ash's prison, and how ash is the leopard who dies climbing the mountain, unable to live at such elevation, how he was trying to reach the sky and be free but was always stuck to the earth, how he chose to die instead of climbing back down, how he chose to die where he could see the sky and hope and freedom almost like a bird with eiji's letter right in front of him rather than letting everything go wrong and ruin it once again, how eiji's a failed pole vaulter anyway, how a bad fall ruined his career and grounded him (physically and emotionally), how it took flying to america and meeting ash and needing to save him and skip for him to try flying again, how he landed hard and harsh and still the thought of that escape compelled ash to protect eiji at all costs because if he could fly that means something to him, even if he doesn't think he can fly, how eiji is the manifestation of his hope and how when he breaks and asks eiji to stay with him a while he folds himself over his legs and weighs him down and traps him and grounds him, how ash fights like hell to keep eiji alive not because he thinks he can be like him (hopeful, flying, innocent), but because he makes him forget the gravity of his situation, and so he can see eiji fly again. how he wants to see him escape. how eiji is a bird and ash is a wildcat and how ash never once saw eiji as prey. how eiji never saw ash as a predator. how it is eiji's naivete that first endears ash to him, how it is his freedom and flight and removal from darkness and his ability to leave that darkness that really roots eiji in ash's blood as something essential to him keeping on living in this hell of nyc. how it is that distance from the violence and that hope for the future that ash chooses to surround himself in as he dies. how ash dies in a dream because he feels more than anything that he can't fly like eiji, that he can never leave. how his violence is a part of him and will be forever, how it weighs him down. how he wants to enjoy the view from the mountainside rather than looking up from the ground below. as if they can both fly. as if he is with him up there and not grounded. eye-to-eye with what he can't have, seeing eiji's homeland: the sky. how he dies trying to reach the top because he couldn't take retreating and trying again. how ash, tired and tired and tired and convinced it will go on forever if he crawls back down the mountain, chooses to close his life deluged in eiji, in eiji's insistence that they can fly together, in eiji's hope for him and for them, in eiji's beautiful dream. how ash dies without trying to realize that dream. how ash, in dying, destroys it.

so i may or may not have printed out the entirety of @anonymousalchemist's amazing fic like a bird, like a stone onto three Very Large pieces of paper.

you might be asking, why, fay? why did you print out an entire 53k fic for a video game you've never played? well you see, if you read it, you would understand.

Just to put a lot of my posts and beliefs about Light Yagami's character in one post (headcanons not included):

• He does not do anything for purely moral reasons. The reason he started killing criminals was because he was curious, and then afterward his "crusade" was built from panic and spite. He thought using the Death Note was going to kill him, so he decided to take everyone he considered a threat to society down with him—that way he would still be good. He would still be remembered. If he can't live, then criminals don't deserve to either. The weight loss and the insomnia shown in the manga, were more likely results of a fear of dying than moral stress.

• Then Light discovers he won't die. This negates part of the spite, but not the need for a moral justification to keep himself "good". He no longer needs to be a martyr, so instead he's chosen to become a God.

• During this week and half of time, Light goes from being a bored, lonely, listless teenager disgusted with the world because it's not how his father taught him it should be, disgusted because if he can manage perfection why can't the rest of the world—to a boy with a new friend and a new mission that gives him purpose. Something interesting. If the world can't be perfect on its own, he'll have to help it. The world needs his help, making him its "savior".

• In comes L. It is no longer about Kira, no longer about saving the world from itself, even if he might tell himself it is—it's about the game. Kira was a fun pastime, yes, but L has made things so much more interesting. (Light and Ryuk are actually wildly similar in several ways it's just not immediately obvious). This game is more fun, too, because this time he has an opponent—one not so nebulous as "the criminals of the world", who offered no challenge. Light is still justifying his actions through a lens of morality, because he has to, but they're beginning to run rather thin.

• Both the broadcast and the obvious taunts to L through changing Kira's killing methods supports the above. "You're too stupid, L. If you were just a little smarter, we could've had some fun." Drawing L in was to progress their game, not Kira's goals. If Light truly only cared about Kira's vision, Kira's new world, Kira's righteous justice; then he wouldn't have continued to play the game after the broadcast. There was no way for L to find him without Light drawing him in—the Death Note is literally the perfect murder weapon. Light knew this, he just ignored it because he wanted to play.

• In the same vein: Yotsuba Light doesn't know he's playing the game. He's forgotten that there even is a game, and so he sees L as someone who's been duped, who either isn't as intelligent as he's been made out to seem, or someone who's being purposefully cruel just because he can. Either way, to Yotsuba Light, L's threat level has only increased, because Light no longer has any sort of weapon to go against him with. He can't even wield his own innocence against him, because his innocence is not certain. Even to himself. Yotsuba Light knows that he has to play along with L's plays of friendship and morality in order to secure his freedom, but he does not respect L or like him. At least, not until near the end, where they're closing in on Higuchi. Where his freedom seems closer....and yet he sees his own, true innocence as more tenuous than ever. Notably, even when Light feels positively towards L there, he still does not share his suspicions about himself with him. His own life still takes precedence over any sort of justice or morality he might have, because Yotsuba Light is still Light. And Light will always put his own self-interests first.

• After killing L, something interesting happens. Because the game ends, but Kira is still left. And Light was willing to take risks and make wild plans in his game with L, but Kira's goals always, always came after his own life. And when only Kira's goals are left, Light stops taking those big, potentially lethal risks. (i.e. bomb desk trap, killing Raye Penber in person by handing him pages of the Death Note, killing Naomi Misora in person right in front of the police station, writing Higuchi's name while sitting right beside L with the murder weapon literally in his hand, etc. etc.). Winning the game was worth dying for—Kira's ideals are not. Or, to put it even more simply: His pride is worth dying for, but his morals are not. Five years after his victory against L, he's presented with another game, but instead of feeling fearful and excited as he did with L, Light is angry. Arrogant and angry. Because this isn't a game to these opponents, as it was to L—they're playing against each other, and Light is merely a piece in it. This game is not like his game with L; it's more like his "game" with the criminals of the world. One with no true challenge, just another defense of Kira's world—worth winning, but not worth dying for.

• Light's pride is more important to him than anything. He needs to be able to take pride in himself and his actions. Pride comes before everything else, before Kira, before family, before L, even before his own desires and physical health. He does not enjoy killing—he just turned it into something he could be proud of. Into another mastering of craft. Light is not particularly sadistic, he's just spiteful. He'll only take pleasure in someone's suffering if they make someone else suffer first, especially if that someone is him. Attacking his pride would count as making him suffer, because that's the most important thing in the world to him. Even though Light also values his life incredibly highly, attempting to kill him wouldn't invoke as much hell-hot wrath as attempting to humiliate him would. And Light will always get even. Always. He does not forgive and forget.

• He believes every lie he tells himself. Every. Lie. He is a Good Man. He is Good Son. He is a Savior. He is Better. He is NOT Evil, he is Good. He's incredibly adept at not only fooling other people, but fooling himself. Even if he's vaguely aware of the truth, he'll take great pains to make sure that truth never comes to light—because it would crush him.

• Light does not take his own desires into account. If he likes or wants something that contradicts with the perfect image he's crafted, he purges it from his mind. Makes excuses for why he doesn't need it, or even convinces himself very thoroughly that he didn't even want it in the first place. If it's not something he can be proud of (or convince himself to be proud of), he doesn't allow himself to desire it.

• Light sees everyone as beneath him (family notwithstanding, Light loves his family deeply), and while it's a pyramid scale of how far beneath him they are, it's not actually ranked by things like gender, sexuality, race—it's ranked by morality and intelligence. The more intelligent and moral you are, the higher up you are on the scale. Light feeling hostile towards someone does not always mean he sees them as further down beneath him; with L and Misa specifically, it means that they're a threat. Light tends to only see people near the top of the intelligence pyramid as threats; evidenced by him dismissing Matsuda completely even with the knowledge that Matsuda was a marksmen, and yet him immediately setting out to kill Naomi when he found out she figured out one of Kira's secrets. With Takada and Mikami, he treats them exactly the same as each other because they're both on the same level of the scale—and he didn't hesitate to get rid of either of them. (Or try to get rid of, in Mikami's case). Everyone is either a tool, a threat, a criminal, a citizen, or family to him. People to use (tool, criminal), people to serve and/or placate (citizen, family), and people to eliminate (threat, criminal). Everyone falls into at least one of these categories for him.

• Light Yagami is a tragic character. And he's a tragic character because he refuses to believe he's part of a tragedy. He would rather swallow broken glass than be considered a victim of anything.

how do you come up with ideas for your comics? :?

yeah ok so the trick is to be crazy