#// villain arcs ... seeing the gOOD BECOME BAD

[floraesky-a]

villain arcs yeah . . .

#⸻ ❛ 𝐁𝐥𝐨𝐬𝐬𝐨𝐦 𝐢𝐬 𝐬𝐩𝐞𝐚𝐤𝐢𝐧𝐠 𝐧𝐨𝐰 » ooc. #// SHAKING MY BRAIN #// villain arcs ... seeing the gOOD BECOME BAD #// villain arcs ..... SOBS

[raayllum]

watching The Dragon Prince is a problem because every time people express discontent with another cartoon show it's almost always something TDP did really fucking well so i just default to like.

you want multiple fleshed out villains / antagonists with backstories and well developed motivations who are also wrong and not let off the hook for their actions? say hello to viren, aaravos, claudia, karim, and more.

you want varied queer rep and multiple trans/nb characters? meet an assassin and a blacksmith and a god and a sign language interpreter and a boy who loves plants and his unhinged girlfriend and married queens and rival enemies to lovers wlw who are now planning their wedding.

you want complex family dynamics regarding culture, legacy, power, and abuse? meet the mage fam, the sunfire royal family, the two main princes, adopted children with four parents, step and half siblings and blended families, etc, all explored in their heart and messiness.

you want varied and in depth character for disabled characters and characters of colour? you have a helpful blind pirate and a bitter blind dragon and a sweet amputee wolf and a deaf lesbian general who's also asian. 2/3 main characters are biracial. every couple is interracial. elves and humans alike have a variety of races and we see all of them on display.

you want to explore cycles of violence and healing and grief and war and found family? you want interesting and varied magic systems? you want ethical dilemmas and grey morality and characters being forced to make bad choices for good reasons? well done redemption arcs that still feel fresh, discussions of culture and religion and the death penalty? friends and family becoming enemies and enemies becoming friends and family?

watch The Dragon Prince.

#tdp #the dragon prince #text post #every time i see ppl complain about toh or shera or anything i'm just like #tdp does this thing the way you wanted those shows to #and it's beautiful and brilliant every time #appreciation #like i have the same kind of nitpick i have with 4x03 as much as i do with 1x08. IT'S NOT DEEP

[tcfactory]

Since my brain has been full of SVSSS brainrot lately:

I want a fic where the transmigration mostly fails and Shen Jiu wakes up from his qi deviation as User002 with the goddamn System treating him like he is Shen Yuan. Trashy yellow book what??? No, he doesn't need stats on his fellow peak lords, if he is supposed to follow a plot then he wants to see the script! You wretched floating rectangle, how is he supposed to play along if he doesn't know the source material?!

The stress of having what feels like a very pushy curse or an insanely weird demon inflicted upon him makes him deviate from some minor plot points and he gets punished for being OOC a couple of times until the System takes pity on him and directs him to Airplane bro, with the very clear suggestion that if he can't remember the early arcs of the story - System understands, User! It's very long after all. UwU - he should go and discuss it with the author.

He basically kicks down Shang Qinghua's door in desperation for some clarity and maybe an explanation, right now before he works himself into a stress-induced qi deviation, Shang-shidi. Shang hamster looks at his miserable scum villain, takes a deep breath, brings out all of Shen Qingqiu's favorite snacks that nobody should know about, makes a pot of calming tea and tells him everything.

Shang Qinghua expects Shen Qingqiu to be angry, to rip into him for writing him into this wretched life. And Shen Jiu is angry, but not at Qinghua. His anxious, mousy little shidi who lives his entire life under the looming threat of a horrible, seemingly unchangeable future doesn't look like a god. Shang Qinghua, who does his best to run his peak well and look out for his disciples despite his admittance that in the story the original Qinghua did a shoddy job - he doesn't look like someone who would have put pen to paper and written a tragedy if he knew it would become someone's reality.

And how could Shen Jiu, who has seen people sell their bodies and their very dignity for a cup of stale water, judge someone for writing a very bad yellow book so he can eat? Please. Peak Lord Shen might have developed a very discerning taste in literature over the years, but you can't fill your stomach with artistic integrity, Shang-shidi. Shen Jiu understands.

So they sit and for that first evening, Shen Qingqiu listens to all the differences creeping into the story, Shang Qinghua's retelling of the drafts he abandoned due to peer pressure, the long rambling tangents of the research he's done, even if they never made it into the story. Qinghua is so caught up in having someone to talk to that he doesn't realize that Shen Qingqiu put everything that happened to Qi-ge together, somewhere between the musings about how a sword inspired by kintsugi would be so cool looking, shame that nobody ever sees the thing, and the griping about how much one of his patrons complained about Yue Qingyuan dying without ever drawing his sword.

Later, when the snacks are gone and the tea is replaced with something stronger, he tells Shen Qingqiu about the stories he really wanted to write. About how he shamefully sneaked his dream man into PIDW, just so he could have some small part to himself, and oh, Shen Qingqiu will have to remind him about demon courting practices when they are both sober again, because it sounds like that Mobei prince is down bad for him.

He leaves that night with a newfound determination. Shang Qinghua might be resigned to the whims of his System and the shackles of the Plot, but Shen Jiu didn't burn the Qiu manor down and break his chains to give up so easily. This is his world, his sect, his Qi-ge on the line, and he would sooner wrest control from the System and become custodian of the world himself than let something take away and ruin what is his. He is the strategist of Cang Qiong Sect, there is no situation he can't think a way out of and he has had enough of tragedies.

Before any of that, however, he needs to go and have a good yell at his Qi-ge, smack his stupid face and then curl up in his arms for a good night's sleep. It's long overdue.

#svsss #shen qingqiu #shen jiu #shang qinghua #that last bit can be read as qijiu or platonic #but I'm personally very partial to qijiu. they just have so much tasty tasty tragedy to sink your teeth into #sqq fixing the world by directing his anger at the right thing for once? more likely than you'd think #idk how they would deal with all the binghe related nonsense but sqq is nothing if not resourceful #tc writes

[lakesbian]

attention everyone we have reached my personal favorite Line in worm

I stepped toward Sundancer and offered a hand to help her up.  She flinched away. Oh.  My hands were bloody.  I dropped the offered hand to my side. “Let’s go,” I suggested.

there are a lot of good Lines in worm, and while i will acknowledge that many of them are sort of objectively more powerful culminating moments than this one, this one is still My Personal Favorite. Oh. My hands were bloody.

it's been obvious through the early arcs that taylor has a lot of repressed anger: she beats the shit out of rachel, even after being bitten. she outright admits to the other undersiders that she hasn't taken subtle revenge on the trio at school because she's afraid she would take it too far/it would obviously be her. she is, initially, unnerved by violence: she's a bit scared by the gun present in the loft, it creeps her out that brian knows every way to break a person's body, she feels guilt about the idea of any civilians being hurt during the bank robbery. but she still beat up rachel, and she still shoves bugs up the wards' noses during the robbery, and she still gleefully rides rachel's dog and laughs and hollers from the joy and the adrenaline rush of victory afterwards.

the expression of this repressed anger thru violence escalates further when her concussion leads her to slapping emma in the mall. in the principal's office, when it's clear that nothing she or her dad says will garner help with the bullying, she shouts and slaps papers off the table and asks what would happen if she brought a knife to school. after she and her dad leave the meeting, she calls lisa:

“Hey.  How did it go?” I couldn’t find the words for a reply. “That bad?” “Yeah.” “What do you need?” “I want to hit someone.”

lisa invites her to a raid on the ABB so she can do that, and it's soo. Sooo Very. to watch how she cuts loose on it. she's so angry rachel notices it in how she's standing, and she's still confused about how rachel noticed. she's a confident leader when the fight goes crisis mode, she responds to rachel bucking against her orders by consistently shouting at rachel to "NOT fuck with me right now," she acts nigh-suicidally aggressive during her fight with lung, and she snarls "don't fucking underestimate me" when she takes him out using a caterpillar dipped in newter's blood.

all of this happens in relatively subtle increments. she doesn't notice how she progressively becomes comfortable expressing herself and taking charge instead of withdrawing or acting insecurely during the course of the mission. she doesn't notice that she's not horrified by dealing with newter's wound or seeing the sniper's broken leg. back in unmasked society, she was forced to consider how many of her aggressive actions were the result of the concussion loosening her impulse control--here, she repeatedly yells at bitch without a second thought. it's a place where her violence and anger isn't only acceptable but necessary. the circumstances normalize her outbursts and comfort with violence to her, leaving her blind to how alienated and dissociated and repressed and traumatized and furious and just Fucked Up she has to be to face down lung and then dig his eyes out.

when she says that she "doesn't believe in eye for an eye," in arc 4 alec asks her why the fuck she's a supervillain. his implicit assertion is clear: being a villain is, for him, about taking your revenge for being hurt out on whoever you can manage or justify, even if they're not the person who originally hurt you. and taylor thinks she's not doing that. but hey: she goes beyond just "hitting someone" and into literally taking lung's eyes as a culmination of the cathartic violence she's been engaging in as recompense for how she was mistreated earlier.

and the person who serves as a more "normal" reference point for how far taylor just escalated is sundancer: horrified by the idea of having to use her sun to hurt people, shocked by how casually violent taylor has been, flinching away from taylor when she turns to sundancer after committing that violence & tries to offer sundancer help.

because, oh. her hands are bloody. she hadn't even noticed how bloody they were getting, but they are.

deeply evocative one-line reminder of how taylor has changed in these first five arcs, without even noticing. and the best part is that, while the imagery of "oh. my hands were bloody" does convey that change in an incredibly brief and powerful way, the fact that taylor is saying it still means even she hasn't really realized. she thinks it's mainly just about the superficial, literal blood on her hands, and not the metaphorical blood on her hands that sundancer is disturbed by. it's good.

#wormtime 2 #wormtime 2 arc 5 #wormblr #parahumans

[whoify]

a remake of my first ever gifset, celebrating the eleventh and twelfth doctors, now with commentary:

— gifs 1 and 2: the "he really is the doctor" moment. the eleventh doctor is introduced in that typically bombastic moffat way, asserting his identity to the enemy and the audience as he literally replaces the image of the tenth doctor. the twelfth doctor does not have such an assertive moment; rather, he begs clara (and by extension, the viewer) to see him as the man he still is.

— gifs 3 and 4: the first big bad. the eleventh doctor declares his authority to the villains of his first season, setting the stage for his arc as a god-like savior of the universe that must subsequently erase his reputation. the twelfth doctor, when facing off with missy in his first finale, reminds himself that he is neither inherently good nor bad, that he's just an idiot passing by to help out— a thread of humility that continues through his run.

— gifs 5 and 6: the life-altering motif. both doctors carry themes of love and kindness throughout their runs. the eleventh doctor tells us that every life is important no matter how small, that the wonders of the universe are worth sticking around to see, that the bad in life doesn't cancel out the good. the twelfth doctor tells us to make all actions with kindness, to put care for others as our motivation, creating with his predecessor a complete picture of care for the self and care for the world.

— gifs 7 and 8: the farewell. the eleventh doctor reminisces on his long lifespan, reliving moments with amy and promising to never forget the time he spent as this incarnation; an appropriate last hurrah for his at-times grandiloquent run. the twelfth doctor, reluctant, at first, to move on from a life he has become so comfortable in, gives himself permission to regenerate peacefully, concluding his run with an act of kindness towards himself.

#doctor who #dwedit #timelordgifs #moffatedit #milk gifs #now accepting comments about my improvement bc oh my god

[anthurak]

Something I absolutely love about the alternate-timeline aspect of Scott Pilgrim Takes Off is that it really feels like a logical extrapolation and ‘next-step’ to the genre/trope-subversion and exploration of the original comic.

Remember how the whole idea of Scott Pilgrim the comic is taking a very basic, generic and ‘tropey’ premise; ‘Boy likes girl, boy must defeat girl’s seven evil exes in order to date her’, and uses it as the backdrop and framework to explore, deconstruct and develop its characters.

Like how the biggest conflict at any given point of the comic is never the actual battles with any of the Seven Evil Exes, but rather Scott being forced to confront some major problem with himself or his relationship with Ramona (usually the former). How the true ultimate ‘antagonist’ for both Scott and Ramona isn’t any of the Evil Exes, but rather themselves. Their own long-festering hang-ups and insecurities that they’ve been refusing to confront or acknowledge that have in turn led to them being pretty shitty people over the course of their lives. For as bad as Gideon is, he’s still only a mirror showing all the bad that SCOTT could become.

So with that in mind, it really feels like the anime simply took this idea a step further: What if we took the basic, generic and tropey premise that nonetheless served as the framework for the story and held it together… and broke it.

When the narrative guide and scaffolding that held the original story on a certain course is shattered when the story is just getting started, where does the story go?

It’s actually one of the ways I think Scott Pilgrim Takes Off can be appreciated even if you haven’t read the comic or watched the movie. Even if you aren’t familiar with the story, the first episode makes it pretty easy to guess how this story should play out: Scott meets Ramona, they have their first date, they really hit it off and seem set to become a couple. We’re introduced to what clearly seems to be our ‘Big Bad’ in Gideon and our ‘Starter Villain’ in Matthew. Again, even if you don’t know one thing about Scott Pilgrim, by the time Matthew Patel crashes the party you probably have a pretty good idea how this whole story SHOULD go.

And then Matthew (seemingly) KILLS SCOTT in their first fight!

THEN the second episode ratchets things up even further when all signs point to Scott, our title character, being ACTUALLY DEAD for real. And then Matthew, again the guy who should be the starter villain, goes and beats Gideon Graves, the guy who clearly SHOULD have been the FINAL BOSS of this story!

And then the third episode sees Ramona, the girl previously set-up as the designated love-interest, firmly established as the new PROTAGONIST of the story. With Ramona given both an overarching goal in finding what really happened to Scott, and an ongoing character-arc of meeting and reconciling with each of her ‘evil exes’.

Basically, even if you aren’t familiar with the full specifics of the source material, I feel like Scott Pilgrim Takes Off can still be enjoyed as essentially a show that at first sets up what seems to be a fairly wrote and predictable story before flying COMPLETELY off the rails at the end of its first episode into something quite a bit more unique.

#scott pilgrim #scott pilgrim takes off #spto #scott pilgrim ramblings #ramona flowers #matthew patel #gideon graves #rambling about genre subversion

[bonefall]

You can ignore this but I was just curious. What are your thoughts on redemption? I know modern day it means "character gets absolved of all wrongdoing and sin, and everyone forgives them yay!" But I'm talking more like, redemption as "Character acknowledges their actions and worldview was shitty, has apologized to all harmed parties, some forgive and some don't, but regardless character works on their issues and strives to become better"

I know characters are writing tools, so the message here would, in short, be "No matter what you can still work to be a better person". So I suppose I'm asking to what extent you agree. Sorry if this ask is everywhere I'm very sick at the moment.

I speak harshly of redemption arcs because I am actually an aficionado. I love them. I can't get enough of them, honestly. They're like eggs to me, I like 'em in all sorts of ways, devilled, omeletted, scrambled, but rotten ones are so bad you've gotta get rid of them immediately.

What often ends up setting me off about how redemption arcs are approached (and discussed) is the pervasive fact that people are more interested in sorrowful abusers than messy victims. They'll turn out to gush about how wonderful it is that Clear Sky cries about how sad murdering women made him, while not even recognizing Star Flower is self-destructing or Thunder is deflecting and misplacing.

It's like... even in fandom you will never get away from it. Your abuser is compelling and complex (meaning "was mean and sad at the same time"), and you're whiny and annoying ("ugh why is this traumatized person doing irrational things?! Don't they ever learn?!")

So when I write and when I talk, victims are always forefront in my mind. I'm really tired of stories that center Good Intentions or "but they loved you"

But anyway, digressing,

I agree. It really is never too late to work to be a better person. It's not even about apologizing, or making up for it, because sometimes you can't. "Sorry" will never undo what happened, and "sorry" doesn't even promise that real change is behind it.

So to me, a good redemption is just about exploring change.

Not suffering, I don't entirely like the idea that pain fixes pain, because it really doesn't. Reflection does. Genuinely understanding what was wrong and why you did it does. In spite of how cathartic it is to see someone get karma, I do hope that 99% of all people could be rehabilitated.

It's why I'm not fond of the phrasing where people want to deny redemption arcs because "they don't deserve it.' The WORLD deserves it. The people they will HELP deserve it. The person they will be deserves it. The question really is-- WOULD they change?

And the answer for powerful people is usually no. Power feels good. Gets you what you immediately want, makes it easy to surround yourself with yesmen who reinforce your excuses.

I think most people want to see others get better, but it's cathartic to me when some characters don't. Redemption arcs are wonderful things, but shouldn't be seen as the IDEAL ending for every villain, y'know?

#bone babble

[sampsonstorm-critical]

So. I DID watch Hazbin Hotel. And oh boy. So I'm going to give my critique on the show.

"antagonists and supporting" Characters- A bit better than Helluva. Studio oversight curbed some stuff. The characters somewhat had their own personalities in their dialogue. Some characters I thought could be cut out. I'm sorry but Sir Pentious is one of them. He's too cartoony even for this universe. He's annoying on the level jar jar binx was in star wars. Same with Mimzy. I think they could've done much better with Adam, but they just made him a dude bro? I did like the Seraphim sisters. Lute was just a bitchy, cynical, anime antagonist. Nifty was a bit aggravating too on the same level as Sir Pentious. I liked Husk as a character. Lucifer being a crushed dreamer fallen angel was actually interesting however his take on his people that he rules? Now if he was actively choosing to punish them himself using hells tools, it would be one thing? But he just has depression??? I guess? After thousands of years? Instead of trying to reconnect with his daughter, he just Mopes??? Like a sad boy??? No. Sorry. You lost me. Cherry Bomb? Meh. She's pretty shallowly written.

Now!

Main Characters -

Charlie- I hate her. I hate how fucking useless she is. She's the main protagonist for fucks sake. Now if she started like this and actually got better as the story went along in season 1, then alright. But she just gets her ass kicked and daddy has to save her skin. Way to take away her independence as a character.

Vaggie- I like Vaggies premise, but I hate the way her arc is executed. And the fact that she lets Lute live??? I'm sorry? WHAT THE FUCK WAS THAT?! No way. No how. Someone like her from a military background, or hells backdrop would let someone as callous as Lute live.

Alastor - he's my favorite character but, it's not his show. And it feels like it is. I love Alastor, he's the only entertainment I get from this show for the most part.

Angel - he's a characature. He is a walking stereotype. I know many people like him including the hypersexuality. Angel dust unless written for plot specific purposes only, is a very selfish unredeemable person. I'm sorry. He's being raped, and he still sexually harasses other people, knowing how it makes him feel? Now this would be great if we weren't supposed to feel bad for him right away, because it would show how abused can become abusers even if they don't mean too. And that could've been part of his arc to becoming a better person. But no.

The Vs - I like Vox. He's written to be genuinely manipulative, charismatic, and intimidating. I like Velvet too. I wish we knew anything about her. Valentino is written to be a villain, but some of his more childish moments are a bit of a movie mood killer.

On to the show as a whole.

So the most hated part of HH. Episode 4s infamous sexual assault scene. - I actually think it was very raw. It was done in an artistic taste. And I DEFINITELY think that if it wasn't taken from a SA fetishizer, it would've sat with me better. I understand what they were portraying and as someone who's had friends, gay men from the aids crisis era who have been SA, I see it but it's not done well. The only instance it's done well is when Angel is shown in the studio with Valentino especially when he tells Charlie to leave.

The build up and pay off issue - the music for the most part was good. OUT OF CONTEXT. I. Context it pays off without building up the conflict. It just resolves immediately. And these aren't Saturday morning cartoon conflicts. These are deep seeded emotional traumas between people. They don't resolve within one episode. These types of conflicts should resolve in 3 part episodes to 1 season. Yet again the Helluva problem shows up. Setting up too many character arcs and plotlines that cannot be properly resolved in the time span.

The finally- it was. Hot. Garbage. What the fuck was Charlie wearing to fight???? What the fuck???? Seriously???? And Angel???? In his booty shorts??? And we're supposed to take the extermination seriously??? HA! No. I do like in the episodes leading up to the finally, where Charlie and Emily rise against Heaven. I think they should have kept going with that moment in the song "If hell is forever, then Heaven must be a lie". It was very powerful and undermined immediately with "the big reveal!" Yuck. And don't even get me started on how NIFTY is the one who killed ADAM! SERIOUSLY? I think it was actually cool to see Alastor get HIS shit kicked in and see him crack under the pressure for once. I DO NOT like how Charlie's daddy had to come and fight her battles especially seeling as how he could do it the whole fucking time for thousands of years????!

#helluva critical #helluva criticism #helluva critique #helluva rewrite #hazbin hotel critical #hazbin hotel criticism #anti hazbin hotel #hazbin hotel critique #anti spindlehorse #anti helluva boss #anti vivziepop

[edandstede]

racist fucks out here acting like ed is doomed to become abusive like his father, like he is a violent monster, as if his arc isn’t about learning that he isn’t a monster at all but just a man. how are you looking at ed accepting himself, overcoming feeling like he’s the literal kraken, that he’s loveable and worthy of compassion and kindness even when he thinks the worst of himself, and drawing the conclusion that he’s an irredeemable thug - which is, by the way, what every fucking villain and antagonist thinks of him. you’re aligning your view of him with the bad guys, y’know, the ones who call him a donkey, low-born, and try goading him into violence over and over again because they think that’s all he’s worth? and yeah that includes izzy, because he did that too, it’s 90% of what he fucking did, treating him like he only deserved to live if he was performing hyper masculinity the entire time and the second he stopped he was worse than dead.

we are supposed to feel sorry for ed. the way he feels is heartbreaking. he was abandoned, had his worst fears confirmed to him by stede leaving and izzy pressing on the wound in the worst possible way, and then he fell completely into depression and suicidal ideation. he thinks it’s all he’s good for. he can’t be loved, he hates himself, he’s just the dick who killed his dad and nobody wants him for him. how can you see this very obvious spelled-out agony in him and say “hey, that guy is gonna abuse the man he loves, he’s an abuser just like his dad” you guys are just absolute bottom of the barrel scumbag dickheads, you really really are. you could not be more blatantly racist. you know damn well the show is not saying what you’re claiming it is.

also, insisting that he would ever hurt stede is just completely ignoring every single fucking thing about him. ed would never. the only fucking time stede is physically hurt by ed is when he wakes up from literal death and headbutts him. that’s it. i think we can all agree he didn’t even know what planet he was on when that occurred, and he petulantly says “good it was supposed to hurt” during a squabble that ends with stede telling ed he loves everything about him. pull the other one if you think this was ever framed as ed seriously wanting to hurt stede and not an incredibly hurt and vulnerable man still acting on a half-dead brain.

like for fuck’s sake this is the same man who hides under stede’s robe and presses his head to stede’s hand when he cries after telling him - the only person he has EVER TOLD - about killing his dad. he tells stede about the plot to kill him, and he cannot do it. he can’t lift a finger to him, he never would. he holds stede’s face with both hands when he kisses him and tells him he loves him. he brings him breakfast with a bit of twine on ‘cause he panicked and thought it needed a flourish. he rubs stede’s cashmere against his cheek. the first thing he says makes his life worth living is warmth. he imagines stede with a big goofy sweet grin and gold sparkly goldfish tail coming to save his life. he just wants to retire and have his inn with the man he loves and not worry about stede ever being in a near-death situation again. he wants stede to be safe with him. at no point are we remotely told in the text that we should be genuinely worried ed will ever, ever physically hurt stede. he protects this man with his WHOLE BODY twice and signs an act of grace to avoid him being shot. he tries to get ned to leave him alone when they’re being tortured. he jumps off the boat with jack to swim back to him and he rows back to the republic to find stede too.

he loves stede, would never hurt him, and you’re all just fucking sour your fav died and you’re saying any old shite as a result. swear to god if i catch one more of you even so much as insinuating ed is abusive i’m gonna start lobbing off toes as well.

#i’m mad #so help me if the izzy apologists find this I’M going to become monstrous #quill to paper

[narutocharacterpolls]

SEMIFINALS

GAARA vs SENJU TSUNADE

Reasons for submission under the cut

Gaara

he overcame his incredible loneliness and childhood trauma with a lot of grace

he acknowledged the people he may have hurt (rock Lee) and did everything in his power to build up from there

he was always very caring (like when he brought the girl he accidentally hurt an apology gift when he was a child)

he was someone who understood Sasuke and shed tears for him

he motivated an entire army of shinobi that were fighting amongst each other, and he did it purely with love for Naruto, showing how powerful his kindness is

serial killer turned babushka. Quite possibly the sweetest and funniest character transformation [submitter]'s ever seen

he enjoys succulent and cactus gardening, based as always

his gardening outfit is the cutest shit ever seen

he has cat eyes which are very cute

nothing but respect for my goth teenaged president 🫡

he's so polite,,

his character development is amazing, he went from being a crazy murderer, to gaining the trust of his whole village and becoming the Kazekage

despite how drastic his character development was, it still feels understandable due to how badly he was treated as a child, and how deep down he always wanted to love but was simply punished for it

eeeing him recover from his trauma thanks to Naruto is really heartwarming

one of the best redeemed villain characters ever imo

very cool character design

storyline that made [submitter] cry like a baby three different times

he's so full of love

has a cool transformation

enjoyable demeanor once he got the help he needs

nice to see a quiet but social introvert succeed in life, overcome his trauma, and learn his self worth

he was an edgy 12 year old who talked like shadow from shadow the hedgehog (2005) how can u not like that

he's funny

he's pretty cool when he's older, a good leader

his arc is [submitters] favorite in the series

lovely to see how far he came and how hard he worked to overcome his demons

Tsunade

milf….

was the best hokage

the regulation she created to include medics on every team saved so many lives

she's funny and a complex and interesting character

is a bad bitch

probably THE most competently written female character in the entire series

she has a very rich history that plays into her character's actions and motivations

wanting to be the best medic-nin possible in order to save more lives because she lost her love Dan, and also change the way ninja squads operated to always have a medic to save more lives did so much for the better during the war to reduce casualties

after being broken down by so many people she cares about dying, she dips and leaves behind ninja society, which has taken everything from her (including wiping out her clan)

because Tsunade is also one of the most legendary/strongest ninja alive, no one could really stop her or chain her down. It takes the conviction of a child who wants her to save the village and heal his friends to get her back to Konoha, despite the all the trauma she's endured

she's a medic with a fear of blood that overcomes that to fight her own teammate and beat his ass so Orochimaru stops killing and maiming people

she steps up to be a leader because it's what the new generation need and someone has to fix all the stuff broken by her selfish teammates and old teacher

the strongest female character both in physical strength and the strength of her writing. It's like she was written first as a character versus most of the other female characters being written first as Girl and Love Interest

Tsunade is vain and a chronic gambler and drunk, she is really brash and abrasive, she is traumatized. But she's also deeply caring, an incredibly accomplished woman, one of the smartest people/medics in the world, and a great leader

she's multi-layered. She is a woman, but her entire character isn't just Woman

finally finished the job on Jiraiya on previous poll

strong arms

she is strong and smart and quick as a whip but still soft and caring when it comes to her loved ones. Characters with rough exteriors who are mushy inside are very good

#kage vs kage #bestnrtcharapoll #naruto #polls #gaara #sabaku no gaara #senju tsunade #tsunade senju #id in alt text

[bakasara]

Trying to parse my thoughts on Izzy's death and why I had a different reaction to it than I thought I would. To summarize: I thought I wouldn't like it, but also that they wouldn't do it; the opposite happened– they did it but I'm ok with it.

I'm also feeling like talking through some mourning for an amazing character, so follow along if that's you, too 😌

(I should probably clarify the following thoughts are coming from someone who deeply enjoyed this season.)

I first wondered what would be of Izzy around the end of season 1. I expected him to have a heel-face turn – which I object to calling a redemption arc and I'll get into why, because the distinction ties into his death imo. A lot of antagonistic characters' changes of heart end directly in death, but I thought they'd subvert that trope. And they... did, actually, despite Izzy dying. Not an option I had imagined.

What the show avoided is the logic, the set of tropes attached to the deaths of this kind of character. These deaths usually come as a consequence of the character's changed ethics or "redemption". My being against that scenario came from the diverging natures of traditional redemption arcs and OFMD's rhetoric.

A traditional redemption arc functions by a kind of catholic logic, if you will: the villain can become one of the good guys by balancing out his "sins"/bad deeds with enough good deeds to tip a moral scale. This often involves a purifying suffering, which acts as an agent to expiate one's faults. To the viewer, this suffering can serve to activate our empathy and make the character more sympathetic. It can also legitimize his quest: our trust in the character's good intentions comes from seeing that the character is ready to make sacrifices to become better and he isn't deterred by the hardships of doing the right thing.

The death occurring at the end of a traditional redemption arc acts as the ultimate sacrifice and/or purification. A number of ideas might be at play behind it, depending on each story: only in death can the soul become fully pure, or a final sacrifice is "needed" to demonstrate the change once and for all, or change was only possible up to a point after which there is no viable/acceptable future – the character deserves moral points for changing, but not so many that he also deserves a full life, or past crimes make him more expendable, etc.

But these are all ideas that aren't evoked in any of the crew's journey in OFMD. For starters, the show isn't interested in "catholic" redemption; its focus is on reintegration/rehabilitation into the community. Rather than appealing to the more traditional (in Western media) and more christian principle of "purification of the soul through mortification of the body", it plays with notions of restorative justice.

We see it especially this season with Ed and Izzy. Ed's arc is a whole little lab for it. We have the community being made to decide whether he can stay or should leave; catbell!Ed is made to apologize to the people affected – which he initially does abysmally, with what fandom has dubbed his "CEO's/YouTube apology". Later, he's given the opportunity to have a more honest and genuine conversation with Fang where he learns about how he hurt him. He's made to repair some of the material damage his behavior caused. Some members feel repaid by the idea that they did to him the same he did to them (Fang) while others don't (Lucius), and the show touches on what this means for each/legitimizes both feelings. Arguably, Ed using his treasure to throw Calypso's birthday party – a much needed refrain and moment of social (re-)connection within the community – is an additional form of reparation. While Stede's belief in Ed has a clear role in helping Ed change for the better, Izzy's s2 journey focuses even more intensely on the role of social support within an individual's constructive (re-)integration into their community. The show is condensed by choice of format, but the beats are all there.

With that kind of rhetoric set up, I'd never be able to accept Izzy dying in a way that feels like a punishment for his past crimes, nor in a way that should "confirm" his positive change/"purify" him for good. And he doesn't! By the time he dies, we know full well he's deeply changed, it's already established to completion. How it happens has nothing to do with proving himself – he's randomly shot in battle. It's never questioned that the time he got to live surrounded by affection mattered. The speech he gives Ed is only possible because he's changed, accessing a completely different perspective on piracy/life than before, like we see when he talks to Ricky earlier. The reason the whole crew is paying respect and crying is because he became "the new unicorn", a treasured member with a defined role. But his death itself is the show going back to the initial symbolism of Izzy as ultimate pirate. The narrative function of his death is underscoring that the age of piracy has come to an end. It's nothing to do with his change. It's posited as the "natural conclusion" (again, by symbolic function) of a character that represented piracy through-and-through, not the "natural conclusion" of a process of becoming better.

And for me, that difference changes everything. I can see and accept the logic behind it, even as I mourn Izzy as a character. It makes the grief feel like a catharsis I experience within the context of the story I'm watching, rather than a grief I feel from a show "betraying" me.

It's also a difference that completely changes how Izzy's death relates to his queerness. Izzy's change is intertwined with being able to express queer affection openly. Becoming "a unicorn" is this extremely queer imagery already – a magical rainbow creature. His role becomes akin to a mother to the crew (the mother hen!Izzy many headcanoned last season, tapping into his potential), a position that isn't extraneous to older queens, including our honored real-life mean-old-queer men. Last season he threatened another queer man for showing too much delicacy, effeminacy, vulnerability. Now, his change is a process that culminates in him singing a tender love song among the crew in drag. He's given the privilege of playing the soundtrack to our protagonists making love for the first time, which ties him symbolically to the event in a way it does no other crew member. Suffice it to say that insinuating his process of change should end in death would have been disastrous, as far as I'm concerned. Antithetical to the show's supporting ideology.

But that's not how it went. Grief occupies a big role in the queer community, but it's so rare that we get to experience it cathartically. In real life, we often have to contend with the ways queerphobia causes us trauma or even shortens our lives, or the lives of our friends. In fictional narratives, a lot of characters that get to express queerness unabashedly still die for the transgression. They're still usually the only queer character with relevant screen time or at all, at best one of two that formed a tragic couple.

We almost never have the opportunity to just mourn some motherfucker who died because they meant something else as well that was central to their character. To mourn and know we're mourning someone who wasn't ever punished for being queer-as-in-fuck-you and going all out. To mourn and not feel like it's another message of queer doom, because for once the character is surrounded by an entire crew of other queer characters that go on to live and be happy. To know the story is saying something about life, not about being queer. To know this kind of crafting was deliberate, too, because the creator has talked about working to avoid those tropes. I struggle to remember another time I had the opportunity to grieve for a queer character like they're a human being, without the implication that it's queerness itself that's a death sentence.

And honestly? It feels good. It feels like a form of catharsis I do not dislike. That I'm maybe kinda glad for. OFMD is and stays a magical world. Beyond that, in a show full of queers, one of them dies after getting some extraordinarily meaningful happiness, and it's peaceful, and I get to just be sad for the fucker without the gutting of being reminded that if you're gay, better not shoot too high. It feels like a completely different emotion that no other show, for now, would give me, but OFMD. To me, it's yet another thing it's pulled off.

As it's been known to do.

#ofmd #having warm izzy thoughts in this chili's tonight #ofmd meta #my meta

[ourflagmeansgayrights]

cant even begin to describe how much The Good Place's thesis on how to be a good person changed how i view redemption arcs

like it's not about "is this character good enough to deserve redemption or are they too bad to get redeemed" it's about "is this character willing to accept that their behavior is harmful, to make amends for their past behavior if at all possible, and to try and become a better person?"

sometimes for the Drama it's satisfying or cathartic to see a character who's done shitty things get to have a big Sacrifice Moment where they save the day and gets to be remembered as a hero, but that's not actually a good redemption arc. being a good person is not a single task that you can check off once you've finished all the steps, and neither is redemption in fiction. there's never really a threshold of "this character is Good Now!" there's the character learning how to be better and trying earnestly to be better even when they're not immediately rewarded for it

that's why zuko's redemption arc (everyone's favorite, the Gold Standard of redemption arcs) works so well. learning that his worldview was wrong was an incredibly difficult journey for him, and even when he knew he had several missteps along the way. but making mistakes didn't prevent him from being redeemed! and it's not like all the characters unanimously agreed that zuko was good now. the choices zuko made that lead to his redemption all made his life harder, but he knew they were the right choices and he made them anyway

and it's why that one wizard teacher's "redemption arc" (if you can even call a sudden infodump of flashbacks an arc) in that one children's series fell flat: at no point was Alan Rickman's character trying to be better. at no point did he realize or care that his behavior was harmful. we learn at the very end that he was working against the main villain the whole time, but that doesn't explain or excuse how much of a prick to children he was or his made-up fantasy racism or anything.

#and that's why grace infinitytrain got redeemed and simon didnt #and it's what i HOPE the ofmd writers keep in mind for izzy hands #uhhh what do i tag this as #the good place #i guess. #txt #mine #meta #??? i guess???? #atla #og #harry potter

[yumeka-sxf]

A chronological analysis on Twilight and Yor - Part 21

*This is part of an ongoing post series. If you missed the Introduction/Part 1, click here*

----------

The next morning, Twilight muses to himself that there are still things in the world he doesn't understand, but nevertheless, a spy must overcome fear of the unknown. While his face and tone are dead serious, it's comical that the thing that caused him to burst into this heavy-handed inner monologue in the first place is none other than his misinterpretation of Anya's reactions the previous day. AniTrendz described the humor of this scene perfectly by stating that "Loid really spent all morning acting dramatic when he's just sad that his daughter called him lame."

And yes, he really was bothered by the fact that he's still having trouble understanding Anya's emotions. While her mental well-being is important for Operation Strix, he also cares very much how she views him as a father. Unfortunately for Twilight, this trend will continue – after a whole day of fun activities, he's devastated to see the scowl on Anya's face when they're having dinner that evening. And, once again, he blames himself and even thinks that Anya could possibly hate him.

As I've mentioned before, Twilight is always cool and confident when it comes to his spy missions, but whenever Yor or Anya are upset, he becomes a second-guessing nervous wreck! It's telling how frazzled he gets when trying to figure out what's going on in their minds versus anyone else. If Anya and Yor's happiness is tied to a mission, and he's always calm and collected about his other missions, why would he get so bent out of shape about them in particular? I think we all know the answer to that.

It's also important to note that the couple of days on the cruise are likely the longest amount of time Twilight has been alone with Anya, without having Yor for parenting support. If she were with him during all this, there's no doubt that her patience with Anya's antics and the encouraging words she always offers, would put his mind at ease. But without her around, there's no one to buffer his constant freak outs when trying to analyze the mind of a child. His anxiety gets so bad that Anya even starts to feel bad about it.

Meanwhile, the big showdown on the deck between Yor and the assassins has so far been the most gritty and violent scene in the series. Endo has stated in the fanbook that making Yor likable while also giving her a profession that involves killing people, was difficult (though I think he's done a stellar job!) A reoccurring theme in Spy x Family is how the tragedy of war has led to otherwise good people partaking in immoral acts, whether for survival or because they're brainwashed into thinking that the side they're on is the right and just one. It's not only Twilight and Yor, but other characters as well, such as Yuri, Sylvia, even the young terrorists from the doggy crisis arc, as well as the assassins on the cruise – the factions that they work for, the politics behind their decisions, and the jobs they're assigned to do, are not framed as heroic nor completely evil, only the aftermath of political turmoil that the next generation has to suffer for.

In Part 13, I mentioned an interview in the fanbook where Endo states that the Forgers should not be seen as virtuous role models…he doesn't think it's correct to only see their "nice family" side. Despite all the comedic antics in the series that sometimes stretch the veil of realism, one very realistic aspect is that none of the characters are depicted as "black and white," "heroes and villains," and their professions are portrayed as more tragic and ugly than "cool." This is in contrast to other shonen series, where the main protagonists are often portrayed as role models who fight for noble causes we can't help but support, while banishing only the most wicked of villains. And often these protagonists started out "normal" only to suddenly gain superpowers, opportunities to go on grand adventures, and have big battles against villains. But Twilight and Yor are the opposite. The series starts with them already having extraordinary abilities and exciting, dangerous jobs, so the end goal is instead for them to be able to attain a peaceful, normal life…because their professions aren't framed as wish-fulfilling but as heartbreaking, grim, and sometimes terrifying.

Twilight and Yor's professions, as well as those of pretty much every other character in Spy x Family, have a lot of gray areas on the moral compass. This is why having a balance of both fun, slice-of-life scenarios, and spy/political action and drama conflicts, brings out the true complexity of the characters. Twilight may lie and act cold as ice towards people during his missions, but because we get to know him while he's living as Loid Forger, we can see that he's doing it for a noble cause, and underneath all that callous calculating, he's a compassionate guy who cares about the feelings of others. Likewise, we see that when she's not killing people, Yor is a total sweetheart who doesn't have a mean bone in her body, is a loving mother to Anya, selfless sister to Yuri, and, like Twilight, she does what she does because she truly believes she's doing good in the world.

If we only see Twilight and Yor as a spy and assassin, our view of them could be skewed negatively. On the other hand, if we only see them as a "nice family," we would be doing exactly what Endo warned against in his interview. But because we get to see both sides of them, we're able to relate to them even more, which makes us want to root for them. Is the immorality of their jobs too much to be forgiven, or are they righteous people who are simply victims of a cold war? Obviously if you're a fan of the series like me, you're opt to lean towards the positive view that Twilight, Yor, as well as many of the other characters, have been sorely damaged by the post-war era that they live in, but the commendable things they do far outweigh the ugliness of their professions, so they deserve a happy ending. And that's really the main appeal of the series – with all the gray areas of morality, seeing whether they can truly live happily without lies is something to look forward to.

Continue to Part 22 ->

<- Return to Part 20

#spy x family #spy family #sxf #spyxfamily #loid forger #yor forger #twiyor #sxf analysis #loidyor #loid x yor #sxf meta

[picturejasper20]

For all the mess that is Phantom Planet, there is something i really like about it and that is the fate of Vlad Masters when he tries to turn the asteroid intangible.

What i'm refering to is the conversation that Vlad has with Jack before leaving the spaceship, which is pretty well written in contrast to the rest of the episode.

Jack: ¨How could you hold the world hostage like that Vladdie? And after the good fortune you've had in your life.¨

Vlad: ¨Good fortune?! You infect me with ghost DNA then steal the love of my life and you call that good fortune?¨

Jack: ¨I infected you? You mean…¨

Vlad: Yes fool! It was your bumbling that made me what I am today!

There are plenty of aspects that i like about this conversation, but the part that gets me is ¨It was your bumbling that made me what I am today!¨.

Because that's basically who is Vlad at his core. He blames his bad actions on the accident and Jack. He doesn't see himself as a villain. He believes that his justified in his own actions because of his own victimization, in the sense he is never at fault of why others leave him or why things go wrong for him, it always someone else's fault, or Jack's.

Vlad's villain/antagonist arc in the main series is bit by bit loosing everyone that cares about him, either because he pushes them away or they find out what type of person he truly is but he never realizes that he is the reason this happens. He is so absorbed in his own delusion that he can't see what he is doing wrong. In result he ends up more frustrated that he already was, and thus more alone.

When Jack tries to explain to Vlad that he didn't intend to hurt him and what happened was an accident there is a moment that Vlad... stops walking, turns around and listens to what Jack is telling him.

It is interesting because it is almost like there is a part of him that wants to know what Jack has to say, even if moments later he doesn't care about that.

Jack: I never meant to hurt you. What happened was an accident. I'm your friend, Vladdie. I've always been your friend. 

Sadly for Jack, he finds out that ¨his friend¨ has become a very different person from the one he knew back in college.

Vlad: I'll remember that when I steal Maddie from you and make her my queen!

Which leaves Jack rightfully devastated that he has been friends with someone who was lying to him all this time.

Vlad flies to the asteroid and finds out that he can't touch it because it is made out of ectoranium, a sustance that ghosts can't touch and get hurt by it.

Then he realizes how screwed up he is because 1) The Earth is really doomed since he can't make the asteroid intangible and 2) he revealed his own ghost identity to the whole world and he ¨will be forever hunted¨.

Vlad: Ecto-ranium? Then I can never touch it. No ghost can. That means…the Earth is doomed. And even if it wasn't I could never go back. I've revealed…my true self. I'll be forever hunted.

Seeing that he is in real trouble he happens to ask Jack for help, minutes after he revealed what type of person he is to him, leading to one of my favourite exchanges in the series:

Vlad: Jack, you have to help me. You wouldn't turn your back on an old friend, would you?

Jack: An old friend? No. You? Yes.

And just like that Jack punches the fire jets control and leaves Vlad stranded in the middle of space, almost as a final ¨screw you¨ to his ¨best friend¨.

Desperately Vlad calls out for Jack's name only that this time there isn't anyone to answer him back. That is the moment Vlad realizes that he finds himself truly alone now, that he ended up pushing away the person who cared about him the most and that everyone on Earth hates him now. Or as he says it in ¨A Glitch In Time¨ novel: He has nothing to return to.

Then he flies away, not having the courage to get to see the Earth getting destroyed because of the asteroid.

I personally like this a lot because Vlad wasn't defeated in a epic battle, put behind bars or anything of that stuff. He was ¨defeated¨ by pushing away someone when he needed his help the most, in a sort of karmatic way.

Due to his obsession with controlling everyone and forcing people to ¨love¨ him he ended up in the way he hated the most and tried avoiding all this time: Completely alone, with no one that wants him around.

And to me, that's a satisfying way to end his arc in the main series since, again, his arc wasn't about him taking over the world or the Ghost Zone. It was about the way he treated others and how his obsession with power drove everyone away.

What it is more, i think it is one of the scenarios that makes the most sense to me for the development he gets in ¨A Glitch in Time¨ because he has to lose everything or being shown that his actions wouldn't get him what he was trying to achieve.

#danny phantom #vlad plasmius #jack fenton #phantom planet #I wished this scene could have been way longer #Because it is a very cathartic moment #Tbh this scenario could have been applied in any other type of plot #That involves just Vlad...losing the last thing to a real friend he had

[class1akids]

Do you think there is any way of fixing what happened in the next chapter? I don't think Horikoshi is a great writer but I don't understand how could he have flumbled so bad when the set up he wrote himself made obvious what should happen. Everybody knows that a big motif was to save the villains and then that's not what happens with the MC and main antagonist? That is kind of like insulting levels of misdirection. I'm foolishly hoping that the next chapters fixes it somehow.

I've been trying to think circles around it, because I do agree with those bloggers who say that it's WILDLY OOC for Deku and it makes them suspect it's a fakeout.

Unfortunately, I only see plausible options with this set-up along the following lines:

Tomura "awakens" the missing Overhaul reconstruction component and rebuilds himself and goes to fix his dying villain buddies. -> Great. It delivers on Tomura's goal to be a hero of the villains and maybe he can turn a new leaf with a healing quirk to try to start fixing the damage he caused. It's sort of an answer to Tomura's arc, but Deku's arc is still destroyed, because he still killed the guy for all he knows and never in any way engaged with his complaints about society. Nothing changed except AFO is dead.

Deku punched TomurAFO with Vestige Magic BS he unlocked offscreen with the exact amount of force to reconstruct Tenko's body out, save the crying boy and give him a second life -> obviously total asspull, but fandom will be happy because who is not a fan of a cute crying child, and "look we told you that Deku is the greatest". Imho, this kind of solution would basically ruin Tomura's development, disregard his progress with the LoV, and would not be good for Deku if he decided that the "crying child" gets to live and told Tomura that he's unforgivable and he needs to die because he never engaged with his villain, only with a ghost of a past that normally doesn't exist anymore and is not a feasible solution to save other people like Tenko this way.

Tomura transferred OFA back to Deku and his vestige as Tenko will live inside Deku so "he'll be a hero" -> I see people getting excited with this, but the vestiges don't "live" there with his "oba-chan". Being a ghost, being trapped inside someone else, never be able to make a decision for themselves is not a life. I don't see it as a good ending for a character who didn't experience much freedom in his entire life. I also think Deku should be rid of the vestiges - it's not healthy to have them yap in his head. If you want this kind of ending, might as well write that Tenko got to join Mon, Mom, Hana etc in heaven and is living there happily in the afterlife.

Deku has brought along Eri's horn and it being in the blast zone of OFA - AFO collision it's fractional rewind turned into a mass rewind effect and he did this in purpose and knew it was gonna work out this way and was totally gonna save everyone with it, including Tomura. And their "farewell scene" was just a clumsily written misdirect. -> OK. Got MHA trending. Editors happy.

Basically Option 1, but AFO being defeated is not the end of the fight, because the Alien Parasite that infected his mom and is the source of all quirks takes form and then the LoV come in to help defeat it. Everyone loses their quirks, no more quirk society. Tomura and Spinner start a gaming youtube channel. Deku becomes a cop.

I mean, I can sit here, come up with these wild, wild BS scenarios that "undo" Tomura's death. But I don't really see a way that salvages both Tomura's and Deku's arc and makes them both deliver on the promise of their arc. Like linkspooky wrote - Deku's entire journey is what would have mattered. Him engaging with villain stories, especially with Tomura's story, trying to empathize, trying to change the root cause. But it feels like in the end, precious little changed compared to the All Might era.

I feel like both Ochako and the Todoroki family confronted Toga and Toya more at both levels - not just at the level of the cute kid whose life went off the rails, but also at the level of the person they grew into: Ochako by offering blood to Toga and the Todorokis by wanting Toya back in his current damaged form and willing to go through hell with him (unlike Toga's folks, who immediately disowned their child). But Deku only embraced crying Tenko. He really didn't offer anything to grown-up Tomura and that's where the problem lies for me.

#c1a asks #bnha manga leaks #bnha manga spoilers #bnha 423 #midoriya izuku #tomura shigaraki

[wings-of-fire-confessions]

I used to looooathe Glory. I thought her bad mood and constant sass was really annoying; however, I came to realize how a lot of her behavior stems from her abuse. Since then, she has become waaaay more of an interesting character to me.

Kestrel and the other guardians (but mostly Kestrel) always berating her and making her feel useless is probably why she started off as so snappy and pessimistic. She didn't see much of a point in trying to be better because nothing she ever did was good enough to them.

She doesn't show her emotions because crying or getting angry would've made her vulnerable to further abuse from the guardians. Some people find it strange that Glory doesn't seem shaken after using her venom on someone, but with this in mind, I think her cold attitude makes sense. She buries her feelings deep down (she doesn't even like to let her emotions slip through her scale color).

I doooo have to admit that it's little irritating to me that ever since the first arc, pretty much every dragon that isn't a villain automatically adores her? I guess dragons like Snowfall are initially skeptical of her, but they come to admire her pretty quickly. Of course!! It's great that she's finally getting appreciation after a childhood of neglect, but it just feels a bit forced to me.

I also think she becomes a little bland after the first arc, but I think that's because we don't get things from her POV anymore and generally just isn't that involved. As I said before, Glory tends to keep her thoughts to herself. Plus, she's learning the ropes of being a queen, so she's probably trying to be more mature.

Contrary to what a good chunk of the fandom believes (and what I used to believe), Glory definitely isn't a "Mary Sue." Yes, she achieves a LOT, but she is still flawed. Honestly, I think that term is often used just to be sexist :/ But that's a whole different debate.

This is a pretty shallow analysis; Glory is a surprisingly complex character (so are the other DoD tbh). But I don't have the energy to do a deep dive right now 🥲 So yeah. You can still dislike Glory (even with all of that said, I myself still feel kind of neutral about her), but don't brush her off as OP or a Mary Sue or whatever.

.

#wings of fire confessions #wof confessions #wof #wings of fire #glory #queen glory #l