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moumouton4 · 6 months

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Hello there! I was thinking if you want to write more for Mash but if you wanna write another characters, that’s fine! I’m sorry I just live my boy Mash🥺❤️

7 Minutes In Heaven || Mashle Burnedead x fem!reader

A/n : Finally made it omg it too me so much time but it really worth it. Hope you all enjoy it 🍦🥮

Warning : Fluf fluf fluff, I tried comedy since the first season gave us almost only this, still trying to make it a strong suit 😂

Masterlist ⚜

I don’t give permission to repost my work, if you want to share it just reblogue it

Word count : 2011

You were all sitting in a circle on the wooden floor of Mashle and Finn’s dorm. It was only supposed to be a nice and chill afternoon gathering with all your friends, as y’all had the afternoon free for the first time in the year. Lemon had brought cup cakes, Dot a lot of candies, you the drinks and Lance, well, Lance only brought himself but it was the intention that counted. Of course a lot of puff creams were present at your little party.

The atmosphere was light and cheerful, everyone was talking and laughing. After a moment, y’all reached the agreement that it was time to play a game or two. After a few proposals, truth or dare was the first game to catch everyone’s attention.

“Come on ! Come on !” everyone cheered.

“I’m not going to answer this” Lance stated, as a pink hue spread on his cheekbones ( if you ask nicely I can tell you what question he was asked hehe )

“Okay… then I dare you to give me your necklace for the rest of the day !” Dot laughed loudly like an antagonist ( Light Yagami supremacy )

Lance’s hand flew to his jewel that he clutched in his hand “Fine fine I’ll answer” he said looking away “3 times…. Happy now ?”

“Yes very” smugly said the red haired man.

Then it was your turn and Lemon, who was in a very playful mood sing-sang “Y/n truth or dare ?”

You looked in front of you, you just knew by the tone of her voice that she was going to do something, your eyes met Mashle’s and then hers. She fricking knew ! And she was surely going to add her touch to it. You were focused on the truth part, thinking about all the possibilities of questions that could be asked. So you went with the dare.

“Dare” you said, half reassured about what was to come.

“I dare you too…” she thought about it looking everywhere around the room, and then her eyes landed - as if faith had decided it - on the door of the storage room of the dorm. A smirk appeared on her lips as she stated “I dare you to stay in there with Mashle for 7 minutes” her finger pointed towards the nearby door.

Your eyes widened “Huh ?!? Did you even go there ? It’s so narrow, we won’t never fit…” as you continued trying to find your wait out of this dare, Mashle sat there, looking at the people speaking, his head looking at one side and the at the other - as if he was watching a tennis game - a puff cream in his hand as he munched on it. He seemed… unfazed, true to his form.

“Nah Y/n it’s your dare. You don’t want to be a loser now, do you ?” she teased knowing that you were far from being someone to let herself be pushed around.

“Fine I accept the dare. But now it’s his turn to say if he is up to or not” you hoped he would refuse so that the next truth would be on him, but as much you wanted him to accept, find yourself in this enclosed space, so so close to his strong body…

“No no no !” a roaring voice abruptly stopped your train of thoughts “Why is he the one allowed to be in there with her ! He is already stealing all the girls’ attention ! That’s unfair ! I want to be with her there too !” Dot continued, his exuberant personality on full displated, making you all chuckle, Lance sigh and Mashle look at him with indifference.

“Why is being in a closet part of the game ?” he asked, his mouth still stuffed with the sweet pastry ( that’s a pleonasm lmao of course it’s sweet )

“It’s like seven minutes in heaven, you know the game” added Finn, who tried to explain to his friend.

“You mean seven minutes in a closet ?” the raven haired boy asked rather matter of factly.

“In heaven idiot !” chipped in Dot, who was still very unhappy that Mashle was the one who could enjoy the company of a female “It’s a gorgeous woman you’ll be with, not some brooms !”

His words touched your heart, making you blush, it’s been years you know him and yet you still can’t keep a straight face when he says this kind of thing.

“We don’t have any brooms”

“OOH COME ON JUST ANSWER THE DAMN QUESTION !”

“Yeah it’s easy to stay in a closet” Mashle finally answered, making Lemon smile as she got up and rushed to you, ready to push you in the storage room with the boy she knew you liked.

With his long legs, Mashle was within a second in front of the door, ready to open it “Nooo !” screamed Finn “That’s fine Imma open it for you guys” he said sweating, he didn’t really want to have another door to be replaced again.

Mashle didn’t say anything and entered docilely in the storage room. You followed suit as Lemon literally threw you inside. You also almost crashed to him - and his huge muscles gahh - sending a wave of red on your cheeks. The door closed rather roughly, because of how excited your friend was.

“Enjoy your seven minutes in heaven guys” she shouted, so that you could hear her.

“Yeah but don’t get too cozy in there” Dot screamed from behind the door.

Now it was just you and him - and your over-beating heart. You wondered if he could hear it in this dimly lit room, though knowing him he wouldn’t have even noticed. You felt your face getting warmer, it felt like you were in a dream. Like how come you even got you and him in this narrow room. Your brain was working at full speed to manage and find something to talk about and not make these seven minutes the most cringy and awkward seven minutes of both your lives - again Mashle doesn’t even seem to know those feelings.

As you were about to say something he went first “What are we supposed to do in there ?”

Did he seriously not have a single clue ( of course not 😂 )

“W-well, usually people talk and see if they like each other more than friends… I guess” your brain was actually sweating, trying not to blurt out that you’re so in love with him since the second day - because seriously on the first one he looked pretty dumb.

“Okay…” he said, looking down at you. He was pretty tall, besides the narrowed space was close to pressing you together, so as he spoke to you you could almost feel his breath on your hair “And what happens if they do ?”

Your eyes widened slightly, you clearly weren’t expecting this answer coming from him, since when was he so invested in a discussion that wasn’t about puff creams. You swallowed hoping that your voice wouldn’t crack as you answer.

“T-they kiss ?” you said, rather as if it was more a question than an answer, your arms raising at your sides to show you weren’t sure 🤷‍♀️ - you were “O-of course they have to both agree about their feelings”

“Okay. Do you like me ?” he said bluntly. You choked on your spit “Huh ?!? W-why are you asking this ?”

“Well to know if you like me too, so that I can kiss you, like the game says” he simply said, as if he didn’t at all reveal to you that he liked you and wanted to kiss you. You hoped he at least knew the game wasn’t actually demanding him to act on his feelings if he didn’t want to.

“Erm- huh… you know… well… yes ?” you said, almost scared there could be a wrong answer to his question.

As soon as the words left you lips he somehow managed to come closer to you, his chest was now pressed against your, if you leaned you could set your head on his strong body.

“Can I kiss you ?” he asked. And now your throat clearly couldn't speak any words. You only nodded. He leaned in, his hair slightly grazing the top of your hair. You looked up at him, gosh he was breathtaking even in this closet. Leaning further down, his breath fanned over your lips “I’m going to kiss you now”

And with that his lips - finally - made contact with yours in a soft almost shy kiss, as if he was scared - in the back of his head - to hurt you in any way or do something that could be seen as wrong or inappropriate. On the other side of the kiss you melted against his mouth, his lips tasted like whipped cream and sugar. But then soon, too soon, he pulled away. His cheeks were somehow flushed and for the first time you’ve seen his gaze avert from yours as if he was being… shy ? about the whole thing, after everything he has said before.

You gently wrapped your arms around his neck, so as not to startle him and brought your head closer to his “Do mind if I ?” you didn’t even need to finish your sentence that his voice, now hoarse came out breathlessly “Yes”

You kissed him, your eyes closing ( I seriously his would stay open in the beginning and you’d have to be like “Mashle can you close them it's weird” lmao. Not saying you can’t keep them open if you want though ) This time, he wrapped his arms around you drawing you even closer, his kiss was a bit clumsy and seriously you were almost suffocating in his embrace but still it was an amazing moment.

He turned his head to deepen the kiss, your nose brushed, eliciting a quiet giggle from you. He smiled in the kiss. This was different from everything he has ever known, he silently promised himself to protect you with everything he could, just like he promised his father. After you broke the kiss he took a sharp intake of breath as his sole action put him in a state of out of breathness that he never encountered before. Maybe that was being in love.

Not long after the door opened as Lemon’s head picked inside, soon followed by Dot’s who was very eager to see if anything had happened and if Mashle had yet again stolen another woman of this damn school. You both jumped away from each other, Mashle almost went through the wall.

“The seven minutes are over !”

“No please don’t tell me you’ve got her too ?!?” in reality Mashle didn’t get any girl from the beginning of his curriculum. There was just Dot being overly jealous, because he didn’t attract any women like he would have wanted.

“Iiiiiiiih Y/n ! You did it girl !” she wanted to hug you tightly but three people couldn't enter the storage room at the same time, so she waited for you to come out. She almost tackled you to the ground.

Mashle went back to sit down, his cheeks still reddened from the kisses you shared in that enclosed space. Both Finn and Lance looked at him weirdly as if they had seen something totally out of the ordinary, and it was. The raven haired boy, even apart from you, couldn't keep his eyes from drifting to your form. Hugging you or kissing you more seemed very enticing and soothing at the moment.

“Y-you okay Mashle ?” asked Finn, looking at him and then back at you, who was coming to sit back down with the others.

“Yeah I just wish the game wasn’t called after seven minutes. It’s too short” he said, biting in yet another puff cream, as if he yet again didn’t confess something rather personal. The other boy blushed at the admission. Dot continued grumbling in the background and Lance was looking through the window, trying to act unfazed and tough. Your eyes met Mashle’s and he gave you a smile before extending a puff cream at you. Yes it was clearly his way of saying that he loved you.

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septembercfawkes · 3 months

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Writing Negative Character Arcs: Types & Principles

What is a Negative Character Arc?

In a negative character arc, the character grows into someone worse--or perhaps more accurately said, someone more misled. Stories that feature protagonists with negative arcs typically function as cautionary tales and often leave the audience feeling "sadder, but wiser." Some examples of negative arcs include Anakin in Revenge of the Sith, Coriolanus in A Ballad of Songbirds and Snakes, and Light in Death Note. These also serve as good reminders that not all protagonists are "heroes."

Of course, though, negative arcs can be used for side characters or antagonists as well, such as Harry Osborn in Spider-Man, or Javert in Les Mis.

A common misconception is that negative arcs are always for "bad guys." While the majority of villains will embody a negative arc, not every negative-arcing character is a villain. For example, Winston has a negative arc in 1984, but no one would call him a "bad guy"; he was tortured until he lost his way.

Despite negative arcs being uncommon for main characters, chances are you'll need to write one for at least one important character at some point. This article will go over the two basic types of negative arcs, dig deeper into what a negative arc actually is, and offer four principles to help you craft one.

Buckle up, writers, because today we are on the "highway to hell!" 😈🔥😉

The 2 Basic Negative Arcs

First, though, I need to make sure we are all on the same page, so here is a brief review on character arcs in general. . . .

A character arc is how a character grows through a story. And at the most basic level, there are really only four types: positive change, negative change, positive steadfast, negative steadfast.

Those are your only options.

Why?

Because there are only two ways a character can grow internally:

1. They can change their worldview or beliefs. 2. They can grow in the resolve of their worldview or beliefs (remain steadfast), becoming more of something.

And each of these can happen in one of two ways.

1. Positive (becoming someone better) 2. Negative (becoming someone worse)

There are many other approaches to character arcs, and you can get more detailed, but theoretically, any character arc will fit into one of these four types.

The character arc is an internal journey and is almost always directly tied to the theme. In fact, it's one of the secret ingredients that make up theme. This journey will ultimately represent a worldview or belief system that the story will put a value on.

Positive-arcing characters end the story representing an accurate or "true" belief system--a reality. The belief system is what the story is arguing for; it's known as the thematic statement. The journey is viewed as an internal victory because the character is better off and a better person, for believing the truth.

Negative-arcing characters end the story representing an inaccurate or "false" belief system--a nonreality*. This belief system is what the story is arguing against; this means it's (almost always) the anti-thematic statement, the counterargument to the theme. The journey is viewed as an internal failure because the character is worse off or a worse person, for believing a lie.

For more information on all arcs, check out "The 4 Basic Types of Character Arcs (with Examples and Variations)."

*Some negative-arcing characters have a last-minute redemption in the falling action, but they will represent a false worldview at the climax.

(This is all generally, simplistically speaking, of course. There is room for variation.)

Negative Change

In a negative change arc, the character starts the story with the true belief system--the thematic statement--even if he doesn't fully recognize what he has, but by the climax, he converts to a false or inaccurate belief system, rejecting his initial worldview. This leaves him worse off.

Frequently he starts as a morally good person who has a promising trajectory. But when faced with the struggles of the plot, he questions his way of life and makes wrong choices.

There is usually something he greatly wants, and he will try to use the anti-thematic statement (or the "lie" according to some approaches) to try to get it.

This is a character who should have had a positive steadfast arc, but lost his way.

For example, in Revenge of the Sith, Anakin Skywalker starts the story believing in and upholding the light side of the Force, but his thirst for greatness, and, above all, his fear of loss leads him toward the dark side. To be a true Jedi, he must be humble and accept loss, but instead he is so driven to save Padme that he turns his back on the Jedi ways, and ultimately becomes morally corrupt.

More examples: Light in Death Note, Winston (with variation) in 1984.

Negative Steadfast

In a negative steadfast arc, the character starts with a false belief system--usually the anti-thematic statement--and at the climax, refuses to let it go. In fact, she may believe in it more deeply than ever. This leaves her in the negative; she's likely even worse off than initially.

Frequently when the main conflict hits, obstacles will highlight her flawed worldview while opportunities will offer her the "high road." She will have her resolve tested as she is invited (directly or indirectly) to change for the better, and she may or may not try to change through the middle. But at the climax, she ultimately holds stubbornly to her initial ways. She will reject the thematic statement, and sink deeper into her misbeliefs.

This is a character who should have had a positive change arc, but refused to.

For example, in Cruella, Estella starts as misbehaved and vengeful. She may "try" to be "good," but inside, she wants to be bad. She befriends two orphans, who later give her the opportunity to work an honest job in the fashion industry, but instead, she embraces her cruel ways. Despite Jasper trying to convince her to change, Estella chooses to become even more immoral as Cruella. She embraces the belief that it's better to be cruel than kind.

More examples: Coriolanus Snow in A Ballad of Songbirds and Snakes, Javert in Les Mis.

Worth noting is that there is one more type of arc that is often considered negative, and this is the disillusionment arc. In this arc, the character comes to the accurate worldview--the thematic statement--but the truth is sad and disheartening. Because I view this as ultimately a good thing (it's better to accept reality than hold onto a flawed belief system), I consider this a version of the positive change arc. However, many people view this as a negative arc, because it doesn't leave the audience cheerful and optimistic. Whichever way you choose to view it is fine, just understand it works by the character embracing the theme.

At the Heart of Negative Arcs

When talking about negative arcs, people often use words like "bad" or "immoral," and as stated above, typically view these characters as more villainous. I, myself, have and will likely continue to use such words, because it's a simple, generalized way to get the idea across without having to explain all the mechanics of themes and belief systems.

However, it's not the most accurate explanation (ironically).

Not all negative-arcing characters are immoral. Nor, as I stated above, are they all villainous bad guys.

At its heart, negative arcs are about a character ultimately believing in something that isn't true--a nonreality.

And it's an untruth within the context of the thematic argument of the story.

In this sense, you may have a story that argues "Good guys finish last." We may not like that truth, but it's true in certain scenarios in life (it's possible to be too "nice"), and it can be true within the context of a given story. So, a negative steadfast arc might be a character who fails to accept this. It's a character who should have completed a disillusionment arc, but refused to. This character may, technically, be a very moral, good-hearted person, but because he chooses to cling to a nonreality, he's in the negative.

Believing in something that isn't real, isn't usually helpful. It's harmful.

(Of course, though, we all have some different beliefs on what is real and what is true. This is why it's a nonreality within the framework, within the context of the story, within that story's theme.)

It's perhaps most accurate to think of negative arcs as being about someone who is lost or misled, even if they don't see it that way themselves.

This is usually the key to making their arc empathetic.

No one hates Winston for embracing the beliefs of the Party in 1984. Instead, we view his brainwashing as tragic. We understand he ends up more lost and more misled than he's ever been--than he could have ever been, if he hadn't embarked on his quest for personal freedom and truth to begin with.

This may be true even of legit villains. As much as we hate Voldemort, we understand through the Harry Potter series, that he is incapable of recognizing that love is the most powerful force--most powerful magic--in the world. Sure, he may be a bad guy, but the author shows us how he is lost and why he is misled.

Compare that to Umbridge. Because we don't know those things, readers actually tend to hate her more than Voldemort. We don't like what we don't understand.

Depending on your project, you may or may not want your negative-aching character to be empathetic. Or you may want him to be a little empathetic or a lot of empathetic 😉. Often this will be controlled by how much you decide to include about how the character got lost and why they are misled.

If you decide to delve into such aspects, you will find that writing negative arcs can be a surprisingly empathetic experience. Everyone loves a hero, but there can be something unequivocally tragic about the downfall of the lost.

Regardless of which type of negative arc, the end result is a sort of self-damnation. You can move forward toward becoming an individuated human being when you hold the truth--no matter how long the journey takes you. When you believe in something that isn't real, a lie, you are Sisyphus endlessly pushing a rock up a hill. A lot of effort, to ultimately get nowhere. That is the true punishment, the true damnation of hell.

You'll never find your way out, if you're worshipping a nonreality.

4 Principles of Negative Arcs

Most stories feature positive change arc protagonists, and most writers are frankly taught to write positive change arc protagonists. This means that a lot of writing advice comes from a positive-change-arc-centric perspective (yeah, I just made that term up). If you are writing one of the other three types of arcs, it can be difficult to find helpful resources. And applying positive-change-arc advice to a different arc doesn't work very well.

So, let's go through the most important principles when it comes to writing prominent negative arcs.

Reverse the Climax: Thematic <--> Anti-thematic

As I touched on above, what makes a negative arc, negative, is that the character doesn't represent the true belief system, the thematic statement, at the climax. Instead, she represents (what I call) the anti-thematic statement.

See, every great story has a counterargument to the theme.

Harry Potter argues love is the most powerful force in the world, but the counterargument to that is that fear and hatred (prejudice), as illustrated by Voldemort, are more powerful.

Star Wars IV: A New Hope argues that we should rely on faith (the Force), but the counterargument to that is that we should rely on technology, as illustrated by the Empire and the Death Star.

The Hunger Games argues that we should sacrifice ourselves to save others, but the counterargument to that is that we should sacrifice others to benefit ourselves, as illustrated by the Capitol and the Hunger Games themselves.

The counterargument is the anti-theme.

If you are familiar with K. M. Weiland's work, she refers to this as the "lie," while Lisa Cron refers to this as a "misbelief." It is also sometimes referred to as a "flaw." (I mean, we could get more nitpicky and differentiate these more, perhaps, but that's a different post.)

Frequently such terms are used in reference to something within the main character--it's the main character's misbelief, it's the main character's flaw. But it's important to understand this counterargument often exists outside the main character as well. It can exist in other characters, or even a society (which is the case for Katniss).

Nonetheless, because we are working with negative arcs, the anti-theme (or some variation of it) will undoubtedly exist within the character. What the character ultimately believes or represents at the climax, is in the wrong.

A positive-arcing character will prove the theme true by ultimately embracing and using it toward a victory at the climax (at the bare minimum, an internal victory).

A negative-arcing character will also prove the theme true, but by ultimately embracing the anti-theme and using it to reach a failure at the climax (at the bare minimum, an internal failure). The negative-arcing character illustrates how the anti-theme is false.

To be a solid negative arc, the character needs to act on the anti-theme.

Anakin needs to show he refuses to accept loss in the final duel, by jumping at Obi-Wan, despite Obi-Wan standing on higher ground. Obi-Wan cuts him down, and Anakin loses everything. The climax illustrates that he was in the wrong. He should have accepted his loss (in more ways than one).

Want Before Need: Sacrificial <--> Selfish

A core characteristic of positive arcs is that the characters are ultimately willing to sacrifice their personal, perhaps worldly, desires, at the climax. They may be eager or they may be reluctant, but when it gets down to it, they'll do it. This is what makes them, in some sense, "heroes." Even a positive-arcing "anti-hero" will ultimately be willing to sacrifice something he values, to do what is right. What is necessary. (And in some cases, this may mean simply casting off, sacrificing, the anti-theme.)

Positive-arcing characters do what is needed.

A core characteristic of negative arcs is that the characters are ultimately unwilling to sacrifice their personal desires at the climax. They may consider it, but when it gets down to it, they'll choose what they want, over what is needed--over what is necessary or right. They are unwilling to let go of their flawed beliefs because they do not consider the alternative path worth the cost or risk.

Like all well-written characters, they have an abstract want that manifests into concrete goals. The goals may even begin well-meaning. Anakin intends to save Padme. Light intends to rid the world of criminals. Coriolanus intends to win money for his family.

But as they pursue these things through the plot, they are ultimately unwilling or unable to pay the required costs to win the most critical journey of all: coming to the truth.

Instead, any "sacrifices" they make, are really more like collateral damage on the way to their worldly or selfish goals. They prioritize their own goals above all else. Even negative-arcing characters who claim to be sacrificial, are often "sacrificing" things and people they actually care little about (like Light)--which means it's not a true sacrifice; it's a payment, a means to their end.

In regards to this principle and the last, often to be most effective, the character is given a climactic choice. A choice between what is wanted and what is needed. And/or a choice between the anti-theme and the theme.

This is typically true of positive arcs as well.

At the climax, Katniss must choose between risking death to possibly save Peeta, or to kill Peeta to save herself. She chooses to risk death, despite her deep desire to survive. Her sacrifice illustrates the theme.

In Wonder Woman, Diana must choose between fighting for a better world to defeat Ares, or joining him in dealing out the punishment she feels humankind deserves. She chooses the former.

Negative-arcing characters make the opposite choice.

In The Ballad of Songbirds and Snakes, Coriolanus must choose between forsaking everything he wants and knows to live freely in the wilderness with the woman he loves, or to remove the woman he loves and return to governing society to gain what he wants. He chooses the latter.

In 1984, Winston must choose between staying true to Julia and facing additional torture, or betraying her and becoming brainwashed. He betrays her.

Please always keep in mind, though, that these are still generalizations to explain the principles--they aren't laws we are enslaved to. (But typically, you must understand generalizations before you can successfully create variations).

For more on wants vs. needs, check out "Character's Want vs. Need."

Constructive <--> Destructive

Positive arcs result in building people or societies up.

In a positive change arc, this emphasis is usually put on the character herself. She overcomes the flaws or misbeliefs that are holding her back, and becomes a better version of herself. This offers a personally promising future.

In a positive steadfast arc, commonly this emphasis is put on the society. The character helps others overcome their flawed beliefs, and leads the "world" into a promising future.

But of course, these aren't necessarily mutually exclusive. A positive-arcing character can both improve herself and those around her.

Generally speaking, negative arcs are about destroying these things.

Rather than building up themselves or their societies, negative-arcing characters are tearing them down--whether or not it is intentional.

It may be very intentional, like in Cruella, but it may be, from the character's perspective, a necessary price for the want-driven concrete goal, like in Death Note.

Regardless, when the character acts on the anti-theme, it's destructive.

Theoretically, each type gets the same emphasis as the positive arcs.

In a change arc, the destruction is often emphasized internally. We focus more on the fact that Anakin is lost, than on the ruin he's creating around him (though he is doing that as well).

In a steadfast arc, the destruction is often emphasized externally. Coriolanus is bringing destruction and death to others, specifically Lucy Gray and Sejanus (though Coriolanus is sinking deeper into negative ideology as well).

An important element of working with negative arcs is to make sure we aren't condoning all the destruction the characters are doing. This can be tricky to balance, because at the same time, we don't want our work to come off as preachy.

The best way to address this, is to make sure we are showing the theme and character arc, more than telling them.

And one critical component of that, is to show the consequences of the character's behavior.

Recall above when I said that the story puts a value on the belief system.

Often that value is illustrated through consequences.

Those who act on the theme are "rewarded" in the end.

While those who act on the anti-theme are "punished" in the end.

Katniss not only gets to save herself, but Peeta too, all while sticking it to the Capitol.

Anakin loses not only his fight with Obi-Wan, but his limbs, his wife, his children--everything.

This is again, simplistically speaking though, and I'll mention some variation in the next section.

But the truth is, you could write the darkest story in the world, without condoning the characters' behaviors in it, without promoting that way of life.

In addition to consequences, tone is also useful in conveying what is and is not an acceptable worldview.

Internal Journey: Victory <--> Failure

Regardless of what ultimately happens externally, positive-arcing characters' internal journeys will be viewed as a victory. These are characters who came to, or upheld, the truth. This betters them, as they changed or as they grew in their resolve of their beliefs. Nothing can take that away from them.

Regardless of what ultimately happens externally, negative-arcing characters' internal journey will be viewed as a failure. These are characters who embraced, or upheld, an untruth. This damns them, whether they changed or grew in their resolve of their beliefs. Nothing can redeem them, if they are unwilling to give up their ways.

Negative-arcing characters end up "lost," and not "found."

While it is most common to have an internal victory paired with an external victory, and an internal failure paired with an external failure, it's not a strict rule.

Having both journeys end on the same value, makes it easier to drive home the point of the story.

But it's possible to have an internal victory paired with an external failure, and an internal failure paired with an external victory.

In the former, the story ends with the sense that the victory was worth the cost of the loss. Doing what is true is more important than winning the world.

In the latter, the story ends with a "hollow victory." The character has gained the world, but has lost her soul, so to speak.

So while Coriolanus succeeds in winning the prize, redeeming his surname, and bringing wealth to his family, he fails as a person, as illustrated by Tigris saying he looks just like his father. Coriolanus is damned to go through the rest of his life loveless. Even if he doesn't see that as a problem, the audience recognizes it as one.

One last thing that is also worth mentioning here, is it is possible the negative-arcing character gets a last-minute redemption in the falling action. Because of what happened at the climax, and what followed just after, she may realize the wrongs of her ways, and spend the last few beats of the story changing.

While I suppose you could ultimately consider this a positive arc, because of the very very end, I find it's more helpful to structure such stories as negative arcs, since the climax we've been building toward is negative.

In any case, as I've said throughout, all these are principles, not rules, and they are meant to help, not hinder, your writing.

Why We Need Stories with Negative Character Arcs

Negative-arcing characters offer us cautionary tales about what we should not do and why.

While today, stories are often viewed as a form of entertainment, another purpose is to teach or educate.

Just as it's important to know what can go right, it's also important to know what can go wrong, and how.

Imagine telling a child to always look before crossing the street so he can be safe, without ever explaining to him the consequences of failing to do that.

What do you think will happen eventually?

That's right. Splat.

(Okay, yeah, that is a little morbid, but I think you get the idea.)

We need to look at both the positives and negatives, the "rewards" and the "punishments," and what leads to each. Not because we are trying to control people, but because that's how humankind gains the discernment necessary to navigate this journey of life.

In other words, that's how humankind gains wisdom. If we only ever look at the positives, then we stifle our abilities to discern.

When we learn about everything, it's clearer to know which way to go, what choices to make, and why.

Stories also provide a safe means to discuss and explore life's dangers. It's better to tell the kid he could get hit by a car and explain the ramifications of that, than to let him follow your rules blindly. It's not that talking about it is promoting kids getting hit by cars, it's that we are warning that kids can get hit by cars.

Frankly, most well-written stories will be looking at both the positives and negatives of an argument (theme vs. anti-theme). And they will do this by illustrating both sides. This is why, even if you are writing a positive-arcing protagonist, chances are, you'll have a negative-arcing character (often the antagonist) somewhere as well.

In any case, if the negative-arcing character's journey is prominent, I hope you'll find these principles more than useful.

#writing tips and tricks #writing tips #writing help #writeblr #writer #writing tip #writing #writing advice #fanfic #writing reference

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warpfactorseven · 3 months

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One of the things I find most interesting about Quark is his tendency towards self-sacrificing behavior. He purposefully antagonizes people and forces them to confront their own vulnerabilities. He does this by painting himself as the bad guy and hoping people will be more upset at him than they are at themselves and speak openly about their problems.

I think a good example of this is in The Ascent when Quark semi-correctly points out that Odo finally got what he wanted: to be a solid. Odo angrily denies this but also recognizes it to be true in a way. But it's the antagonism that makes it an effective way to broach the subject with Odo. Quark knows that his reputation is poor and people don't trust him, but that doesn't mean he can't help them. He'll gladly become the villain in any scenario so that people can save themselves. Another example is in The House of Quark when he helps Grilka regain her honor and the title to her family's property. He literally sacrifices himself in this case, manipulating D'Ghor into dishonoring and exposing himself, once again relying on the same antagonistic behavior to draw out the truth.

I find Quark's behavior interesting not only from a narrative perspective (where he serves as a vehicle for the self-actualization of the other characters) but also because it enriches his own character arc. Quark's deep affection for his friends is purposefully masked behind a distrustful facade, both to protect his own feelings and to uphold the patriarchal values of Ferengi society. He consistently demonstrates to the audience that the opposite is true; he's someone who cares, who is invested in the well-being of his community and of his friends. I think an appropriate analogue is Garak, who in episodes like In the Pale Moonlight chooses to damn himself in Sisko's place by killing Vreenak, knowing that he is capable of committing atrocities that others cannot. But unlike Garak, Quark chooses takes the fall because he has hope.

#star trek #ds9 #quark #odo #grilka #garak #benjamin sisko

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justmenoworries · 3 months

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some unorganized thoughts about Vox and Valentino Hazbin Hotel

Spoilers For Hazbin Hotel episode 2

TW: Discussions and depictions of abusive relationships, sexual assault, extortion and financial abuse

So going by the promo material shown to us, a lot of fans seem to think that Vivzie has changed course on VoxVal and that it's going to be a much more healthy relationship than previously implied.

Not gonna lie, that disappoints me.

Because depicting an abusive romantic relationship with an imperfect and unexpected victim would have been extremely interesting. We already know Valentino is a piece of shit who doesn't care about anything but himself and profit.

The "Addict" music video and the prequel comic "Dirty Healings" make that very clear.

Valentino regularly assaults Angel, keeps Angel's earnings for himself and tries to keep Angel in the studio as long as possible, even getting angry when Angel goes out by himself. Even if it's to get money for Val.

And for all of his faults, it's very easy for the viewer to feel sympathy for Angel. Angel is a likable character who's been shown to have a much kinder side to him via his friendship with Cherry and him trying to comfort Charlie in the pilot after her pitch for the Happy Hotel flops.

Vox though?

Vox is slated to be a main antagonist. He's a fellow Overlord of Hell. Someone for whom it'd be much harder to believe that he'd let anyone treat him like Valentino treats Angel.

And yet...

To be fair, this artwork is from the in-character Instagram accounts, which were already confirmed as non-canonical. (The accounts themselves are sadly archived now due to some really messed up stuff that happened with the Octavia and Stolas accounts.)

Still, depicting Vox as one of Valentino's victims would have been pretty intriguing. It shows that this kind of thing can happen to anyone, no matter the gender or financial or social situation. It would also acknowledge that just because someone is a victim of abuse doesn't mean they're pure, innocent or weak. And that no matter the circumstances, no one deserves to be treated like Valentino treats Vox and Angel.

I'm honestly hoping that this aspect of the VoxVal relationship isn't entirely gone and I kinda think it isn't.

In episode 2 we see right off the bat that Vox doesn't really like Valentino. And it's easy to see why.

Valentino is a spoiled angry manchild with no self control. He needs Velvette and Vox to reign him in, otherwise he's going to do stupid shit like waltz up to the princess of Hell's doorstep with a gun in hand. Because he can't handle the idea that one of his employees is living somewhere he didn't approve.

If Vox hadn't stopped him and talked him out of it, Val would have gotten the VVVs into some serious shit. His violent streaks can also not be talked down completely, they need to be satisfied somehow. Vox needs to offer Val the lowest earners to shoot at and work out his aggression on or Val's going to continue to go on a rampage and most likely tear apart more of Velvette's models.

Speaking frankly, Valentino seems way more trouble than he's worth. Vox and Velvette appear to be doing all the work in their shared empire while Val just throws tantrums and forces them to go out of their way to calm him down.

So if that's the case, why do the other Vs puts up with Val?

In Alastor's and Vox' duet in episode 2, Alastor has this very interesting thing to say about Vox and his relationship to Valentino and Velvette:

"Is Vox as strong as he purports? Or is it based on his support? He'd be powerless without the other Vs."

What's also interesting is Val's and Velvette's reaction to it.

They're smiling. Like they agree.

Alastor also reveals that Vox was trying to get Alastor to join the Vs. Alastor declined.

Vox of course tries to deny all of that, but in the process gets so worked up he short-circuits himself and causes a city-wide blackout.

If Alastor is telling the truth here (and we don't really have a reason to believe he isn't), that puts everything in a whole new light.

Vox is he brains of the operation but is he also the only thing that's keeping it together? Val and Velvette don't really get along (Velvette insults Val behind his back, Val rips apart her models when he's angry) and both don't seem to respect Vox that much. Velvette lets him deal with Val's bad moods, Val doesn't hesitate to throw stuff at Vox when he's pissed (the fact that Vox nonchalantly dodges the glass Valentino throws at him implies this is not the first time). They both have a look of disdain on their faces when Vox hugs them during "Status Quo".

So why does Vox go to all this trouble to keep these two assholes in line if he doesn't really care for them and they in turn have no love for him?

Maybe for business reasons, but Vox already has a giant multi-media empire, right? So again, what does he need the other Vs for?

I think it has to do with Vox's need to be admired and liked and at the top.

See, another thing this episode tells us about Vox is that he's deeply, deeply, insecure.

He has a dozen different programs where he changes his outfits, approach and demeanor to cater to every single sinner possible, he throws out new business ideas on the fly so he'll always be the newest trend everyone follows. If something (or someone) comes up that cracks his cool confident businessman facade even a little he can't handle it and literally breaks down.

Really, Alastor puts it best:

"Is Vox insecure? Pursuing allure? Between this fad and that, is nothing working? Every day he's got a new format."

So Vox doesn't just want to be powerful and popular, he wants to be the most powerful and the most popular and his shows alone aren't going to cut it for that.

That's why he needs Velvette and Valentino. They provide the content that draws the viewers Vox so desperately craves. Without them he'd be all on his own, might lose large chunks of his viewership. And that's something I think Vox is deeply afraid of.

So no matter how little he might actually like them, regardless how shitty Valentino treats him, Vox needs these two. In his view at least, he can't afford to lose them.

#hazbin hotel #voxval #staticmoth #hazbin vox #hazbin valentino #tw rape mention #tw abuse #tw rape #hazbin hotel theory

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yoru-no-seiiki · 9 months

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YANDERE (PLATONIC) FATHER x READER

MINORS AND AGELESS BLOGS DNI OR YOU WILL BE BLOCKED

yan! father, biological or not, that is a bit too much. praises and validates you for everything you do. which is great until one realizes that antagonist! reader is a bitch because of it.

your father is known for being ruthless across the lands and seas. he worked as a hound for the royalty, and had no business showing mercy. it wasn’t his job after all. his career in life was to follow the emperor’s orders and execute those that he was ordered no matter who they were.

…

in truth he’s a massive pushover.

he never had true control his entire life, and probably never will. he doesn’t want to. he just wants you to be happy, and if that means devastating the empire then so it shall be.

you were a talented kid. he raised you after all. more than capable of continuing the family business in terms of skill so to speak. but far too ambitious to actually obtain your father’s title.

and when you give a child too much, the child starts seeing that as normal. that everything they ask for should be given.

but the more and more you asked to become the next duke and royal executioner the more he adamantly refused. warning you of the dangers such a position held.

but all you saw was the glitz and glamor your father had.

on the night — the night he’ll never forget.

his subordinates had deigned to ‘take care’ of you for duke. citing how much of a horrid brat you are.

he stays silent for several minutes, your bloodied corpse in his hands, and then he says

“you should have killed me instead.”

there was no sadness in his eyes. he was not speaking out of grief.

only of bloodlust and guilt for what was about to come.

©️ yoru.no.seiiki - yun | 2023

#yandere #yandere x reader #yandere imagine #yandere oc #yandere fic #yandere x you #yandere oc x reader #yandere dad #platonic yandere #yandere x gn reader #yandere x y/n #yanderecore #yancore #yandere self insert #yandere male #male yandere #gn reader #gender neutral reader #x gn reader

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coralinnii · 1 year

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For the reincarnated into the bad guy, would you ever do one for Jamil? I’m really curious on how that would turn out.

being reincarnated into a new world as the bad guy feat: Jamil genre: budding romance note: roughly 1.4k words, no pronouns are used, the characters and reader as written as younger than current canon, dialogue heavy, more of a set-up to the story in my head.

series masterlist

I was confused whether you meant a new fic or a fic between Jamil and the MC/reader from Kalim's version. If that's what you meant, feel free to request again

It took a while for you to realize where you were, and who you were. You possessed the body of a high ranking noble in a book that you had a hand in writing, and worst of all, you were a petty antagonist in the sequel. Your character was the childhood friend of Kalim, the heir of the richest family in the kingdom, and Jamil, his reliable attendant and most treasured companion. Your role was to be the pawn whose greed was made useful to none other than Jamil.

After the success of the first book, your friend was in the works of a sequel to which you jokingly suggested to give a twist, that Jamil Viper was a traitor. Now thanks to your big mouth, you were going to be tricked into harming Kalim’s beloved and be a stepping stone for Jamil to gain favor from the Asim family by saving her from you. For him to succeed, you would end up exiled from the kingdom and later starve to death. So, you’re working to avoid that.

Luckily, you reincarnated years before the start of the story so you initially thought avoiding the two would be the best tactic but as the days spent with your childhood friends continued, you grew fond of both of them, more so to Jamil. Perhaps because he was the most intriguing character to you or it was the guilt you held for having a hand in writing his downfall. Either way, you decided to change your plan.

You recalled your friend’s notes on Jamil’s character development which boiled down to his displeasure in acting under Kalim’s shadow all his life. It worsens over time as his life becomes nothing more than merely Kalim’s attendant, trapped in an underappreciated situation.

You tried to remedy that with praises and compliments whenever the three of you played. You compliment him on a good game, praise his efficiency at his job and craftsmanship, and even flatter him on his boyish good looks. But all that seems to earn you is a polite nod and a courteous thank you.

“Kalim, tell me the truth. Does Jamil hate me?”

“That’s impossible! I’m sure he’s just shy.”

“…That sounds even less plausible”

Jamil kept a wall between himself and you which was extremely frustrating. You were starting to get jealous with how Kalim gets to be friendly with him, even if it’s just Jamil reprimanding the carefree heir.

You were contemplating if you should just stop coming around the Asim manor. Perhaps you could convince your family to send you abroad and avoid the events of the story.

However, you had your breakthrough with the seemingly level-headed servant, when your families were invited to a party held by the Asims.

Kalim had his makeup done by Jamil and amazed by his work, convinced you to get yours done by the young attendant too. Though you were sure Jamil had other things to attend to, he proceeded to work on your look, although you swore you heard an exasperated sigh under his breath.

Jamil sat close in front of you as he started to work on your makeup. As Kalim said, the dark-haired boy did quick but efficient work on your foundation and shading. This may have been the closest Jamil has been around you which leaves you a little jittery in your seat.

You hope to have this party as a memorable event since you were planning to speak with your father about your study abroad wish. But that sigh stung you a little and now you wanted nothing more than to get this night over with and disappear.

“How much longer?” You asked, slightly fidgeting from the slightly awkward situation. It’s really not easy to sit so close with a boy that you were sure hated your guts.

“I will be done soon” he replied but his monotonous voice made you uneasy, wishing for the moment to end faster. Jamil then started to work on your eyes, carefully gliding the tip of the brush along your eyelids a striking shade of red.

The next few moments may be one of your most favorite memories…and his as well.

“Can’t it be faster?” It took all of your strength not to move unless you want to poke your eye or worse, have Jamil this uncomfortably close to you even longer.

“This must be done right”

“But what if we skip some details? No one would notice”

“It would be unwise to rush such things, just relax”

“But really-“

“WOULD IT KILL YOU TO HAVE SOME PATIENCE?!”

You felt a change in pressure of the brush and with the sudden outburst from Jamil, it startled you enough that your face flinched, causing the brush to make a large streak of red paint across your nose and cheek. After all your attention towards the sequel, you forgot a tidbit about Jamil that was mentioned in the first book; he has a snapping temper.

Jamil felt a heavy weight sinking in his stomach and the silence between you two prolonged to what felt like a millennium. No matter how friendly and sweet you appear to be, Jamil could only see you as another noble. Kalim is an odd case but you were still of a much higher standing than Jamil, capable of executing him and his family if you so choose. He assumed that your kindness is only due to his association with Kalim, a mere extension to gain the heir’s favor. But with Kalim not present…

He couldn’t help the natural flinch when you extended your hand, out to reach for the mirror by him. He kept his head down and his hands curled, not daring to look into the eyes of a noble. He waited for your wrath as you examined the mess on your face, his hands shaking in fear until…

“PFFFTTTT HAHAHA!”

“What a pretty laugh” Jamil whispered before shooing away such insolent thoughts as he watched you laugh wholeheartedly despite looking like a child who got into their parent’s makeup, though you supposed you actually were a child physically.

“How is it that it’s still such a pretty brush stroke? I almost don’t want to wash it off” you chuckled, admiring the large smooth paint line across your face. In spite of his angry outburst, Jamil’s hand was still amazingly calm. Oh, how you wish instant photography existed in this time period. The sense of unease left your body with every breath of laughter as you kept gazing at your mess of a face. At least you've gotten your wish of a fond memory to look back on.

In the corner of your eye, you noticed however that the paint managed to splatter on Jamil’s hand, leaving spots of red on his skin. Placing the mirror down, you grasped his hand which surprised Jamil, and lightly brushed your fingers over some of the paint. Jamil had to steel his nerves to not shiver at your gentle touch.

“Oh no, thankfully it doesn’t seem like it got on your sleeves but you should go wash it off quickly”

“But I need to quickly fix your makeup” Jamil protested but you stopped him.

“I’ll just call for someone else or something. It is part of their job, anyway” you reasoned and you looked at the young boy with understanding eyes “I know that you probably have other duties, so you should leave early.”

With his hand in yours, you guided him to his feet and firmly pushed him to the door, ignoring his protesting, but you insisted on your decision.

“I’ll be fine, me being late won’t change anything about the party” which is true, as no one would dare fault you for what they say is ‘being fashionably late’. “I’ll be sure to get ready so you don’t have to worry”

His resolve weakening, Jamil was finally pushed to stand just outside your room, with you standing just by the door.

“I know you’re incredibly capable, Jamil. But, it’s alright to say that you have too many things to worry about. I’ll understand” you smiled, which Jamil felt a shock to his heart at the sight. “If I want to be your friend, I need to respect your time and priorities, right?”

You gave a cute wave and moved to close the doors before you suddenly paused to look at Jamil once more, taking him by surprise.

“Oh, and don’t worry. I won’t say anything about what happened. It’ll be our secret!”

With one last smile, you shut the door and left Jamil to stand alone in front of your room.

Jamil was wrong, all wrong. He thought Kalim was an outlier in the class of nobles but now he knows how you truly are. Like the foolish heir, you were just as outlandishly lenient with your social standing, quick to laugh and speak as though you don’t hold the power to ruin someone. You may have more awareness of your position but you've not once abuse that power nor have set a line between yourself and those of lower class as him. You were as baffling as that Kalim!

So why does his heart beat this way if you were just another oddball?

#twst #disney twisted wonderland #twisted wonderland #twisted wonderland x reader #twst x reader #twst scenarios #twst imagines #twisted wonderland imagines #twisted wonderland scenarios #jamil viper #jamil x reader #villainess au

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lizaluvsthis · 2 months

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SMG4: Trash Friends

Shit. Hello guys- I stole my phone and it is currently 4 am and I posted this (Because it's scheduled on queue)

I'm still not here but I managed to grab the phone out of the room, I can post for a bit. But then again, I wont be catching up to stuff while I'm at it.

Okay so- this video is about SMG4 needing that usb where michael jordan is n stuff to become popular.

SMG3 is needing that one to become popular as well so that his shop would be flooded by customers.

And then where it comes to needing stuff, they'd do literally anything for their 'friends' to get it.

SMG3 lied to him saying the business is running good, he just didnt want to face the problem in front of the protagonist that he's going downhill with running the business.

"I'm finally gonna get the attention I deserve, and prove to everyone YOU'RE THE WORST VERSION OF ME!"

This? This was his thoughts. This is how it speaks for him that is why he was afraid to show that to him.

After SMG3 told Mario he needs that usb for Fame and Love because SMG4 has too much of that. He knew how much important it is to him. He wanted the same love like how SMG4 has, he'd never had all the attention like how SMG4 had too. He was lost of himself.

Mario being the gullible idiotic man he is, he never complained to three about his speak of truth, he had comforted his friends especially meggy. Mario figured that Three had exposed his inner emotions, the most that he can do is just vomit that sh-t out.

Right after Three hid Mario from his hat, turns out he really does need shampoo. I mightve noticed that he'd been staying up late at night and doesn't shower because of his bad habits.

Sometimes depressed people mostly forgot to shower and just cope sh-ts to themselves like curling up to the bed and wallow in sorrow. And mostly they just hide that feeling. And I guess you might've noticed SMG4 did. Thats the reason why he searched that up from the internet.

He was THIS obviously close to reveal he had been concerned about Three because he stinks.

When SMG4 told three what the matter was, since the only thing he knew from him is that his business is doing fine. SMG4 thought that three wanted that fame all to himself, being the selfish one he knew back then.

After four told him "you're being selfish! All you ever think about is yourself! JUST. LET. GO!" the soft spot where SMG3 got his by the heart because of it.

He never wanted to go back to being how he wanted to be. He never wanted to show that whole destruction thing again from his ecil doings. This was the rrason why he ever wanted to change into a better person.

"OKAY!" "Okay...?" SMG4 noticed where Three easily surrendered himself, letting his guard down due to his anger.

He opened up.

"YEAH! I dont know what I was thinking! I'm doing fine! My shop is ALWAYS flooded with customers, I'm SO successful. Nobody is EVER throwing my coupons in garbage.

AND I DEFINITELY DON'T FEEL LIKE THE WORST VERSION OF YOU THAT LIKES TO PRETEND HE'S DOING FINE!"

HE said that to himself. When he thought he'd be the worst ever version of him, because he was supposed to be an antagonist. He was supposed to be SMG4's enemy, but he was also supposed to be partners with Four because they were both meme guardians.

SMG4 didn't knew. He always didnt know all of SMG3's antics because he thought Three also had everything to himself. But he didn't know he also felt like this, like Trash.

SO THIS GOES ON WITH THE MORAL. SMG4 noticing it just now is that he felt like TRASH. Because last time he'd ever notice is just Three wanting attention of how the golden child (aka SMG4) is when he gains that love and joy with everyone from meme warts.

Yet Three is there saying that to himself. He was there being open to Four and to Mario that he is struggling as well. His whole life, his financial issues, everything that meant to him. He popped the balloon and spoke the truth.

Four picked up the coupon, he was sad about this when he had finally just realized the whole sh-t of things. Sure four has done alot of wrong things but this? This is sick to his guts feeling bad for three...

Four looked at mario because he knows how valuable of a friend Mario is when dealing with emotions and open ups. And so- he got to the talk with three.

With all thats settled, SMG3 came back and fist bumbs Four to know that he's good now. What I also didn't expect is that three after using the usb, Four didn't even stop him. He looks at three with those softened eyes and just. Wow.

Four really wanted to show three his kindness, he was soft on him so he gave him a chance. He wanted three to be happy too.

#smg4 #smg34 #smg3 #smg4 smg3 #lizafixates

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cherllyio · 2 months

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Why the Newer Villians in Lego Monkie are more scarier

So we all know that in the start of Season 4 MK said:

MK: "What if this is the part in our hero's journeys where things get a little bit darker."

And yea, im pretty sure we can all agree witht that-

But then, while i was writing an analysis/theory video on the villians of lmk, i reailzed something.

The newer villians are more "scarier and darker" because of two things:

How they interact with our heroes

Their colour symbolism and its influence on feel of the show

How they intereact with our heros

Now when im talking about "newer villians" im specifically talking about:

LBD and the mayor

The ink demons

The Brotherhood

The hooded guy from the underworld

First of all theese villians are much more smarter with how they plan things out.

While past villians like DBK and Spider Queen are hurrying to do anything to defeat our main characthers, our newer threaths plan things out more.

They are built up more slowly, but that also means that they can suddenly come out of the shadows and attack our heroes where they thought they were safe, and end up terryifing both for the characthers and us watching.

Hell, we havent even truly met the hooded guy yet, but he has already managed to give MK and idenity chrisis, kill Wukong for a period of time and introduce us to the ink demons, who are scary enough of themselves.

And in that scene where LBD was tormenting MK for the first time, she was moving slower, but she still scared the living shit out of everyone. This is probaly because she put herself so much apart from the normally high paste show we are used to, which just felt so wrong.

That they also have time to grow in the shadows, means they can also learn a lot about our main characthers, which leads to one of their best but scairest skills, manipulation.

For an example, LBD may be dead, but she still haunts the show because of her genius but terrifying manipulation she planted like a diseasce in MK and the rest of the show.

Their colour symbolism and its influence on the feel of the show

Villians like DBK, Spider Queen and even Macaque, though meant to be evil, they still match very well with the feel of the show.

This is because, like the rest of the show, they still are shown in bright colours.

But again with our newer villians, they have more blue, grey and/ or a more monotone look, again putting them apart from the rest.

The colour symbolism, both positive and negative, and influence speaks enough for itself

Blue: Melancholy, sad, visdom, truth, effectiv

Grey: Mysteries, lonlieness, death, deressing

Conlusion

Im really scared for season 5

3. I have more way more things to say about these antagonists, more specifically LBD and that hooded guy. So i am currently, as i mentioned earlier, writing an analysis/ theory video about them. Its acutally about a quiestion thats been bugging me for a while:

If LBD's goal is destiny, while the guy from the underworlds goal is chaos, two very the most opposite goals, why are they both evil?

I plan to have this video uploaded on Youtube at some point in the next week, since its sunday today, so look out for that if you are interested. I will make a post about it, when i upload it.

Update: ITS UP!!! (here)

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cosmicghoul99 · 1 day

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An interesting Hannibal theory I think you should know about

I'm not sure how many people know this, but if you're unaware, some really interesting things relate to the show and Hannibal's character specifically. (Wanna add that I am not religious, so apologies if I get something wrong. I mean no offense to anyone, this is just a little analysis on my part)

There are a lot of biblical references in the show. It makes sense; religion has always been a deep, moral, and philosophical concept, and Hannibal loves to incorporate the ideas of religion and God into his actions and that of those around him. One of these references is a recurring one. Hannibal is often referred to as the devil. Like this quote from Gideon:

"You really are the devil," Abel Gideon - Antipasto

Or this one from Bedelia:

"Who holds the Devil, let him hold him well. He will hardly be caught a second time." Bedelia Du Maurier - The Wrath of the Lamb

Add this to all the religious imagery, the references to stags and the wendigo, plus the season three discussions about Dante. Bedelia says that she was "swallowed whole" by the beast at the mouth of Hell. You get the picture. There is a lot of talk and allusions to Hannibal being "the Devil."

Obviously, this is a metaphor first and largely used because he is the main "evil" or antagonistic character, but there's actually some truth to this.

Both Bryan Fuller, the creator, and Mads Mikkelsen, the actor of Hannibal, have stated that Hannibal is meant to be the literal devil. He is meant to be both a personification of the devil and the literal devil.

According to Bryan Fuller, Mads Mikkelsen plays Hannibal like he is Lucifer. In an interview, he stated that "he is as close as you can come to the Devil, in the sense that the Devil has no reasons," following it up by saying that Hannibal's reactions aren’t something of a person, but of the Devil. He intentionally plays the character through the lens of the fallen angel, Lucifer. Hannibal is meant to, in the eyes of the actor, be a manifestation of the Devil

Bryan Fuller has also said in interviews and online that he believes Hannibal is the devil. Of course, he states that this is his opinion and that others are up to their own interpretation, but the show's main creator and writer believes this also means that we can reasonably see this in the show.

Throughout the show, Hannibal is simply on another level. Many times, he does not seem human but rather otherworldly. I think that is where Mad's acting presents itself, alongside whenever Hannibal is talking about humanity and God.

Hannibal loves to play at being God and also criticizes God as well. I believe it is in episode three after Will kills Hobbs, that they discuss how Will killing Hobbs felt good. Hannibal responds with this.

"Killing must feel good to God, too... He does it all the time, and are we not created in His image?" Hannibal Lecter - Amuse-Bouche

Oh boy. This is such an interesting line. He talks about being created in His image. Let's be honest; he speaks as if he were God or knows God at least. His comment actually makes more sense if you view this as him being the Devil. Lucifer, the fallen angel, was cast from Heaven for rebelling against God. He feels that it was unjust. Most people talking about God and His actions view him with benevolence. Hannibal does not. In the bible, Lucifer had a problem with humans. And humans are, of course, said to be created in God's image. You could also argue that angels, especially Lucifer, were created in that same image, too. Hannibal has an issue with the rude. Why the rude particular? It is because those who are rude often showcase the worst of humanity's attributes and free will. Hannibal despises the rude because I believe that it, in some ways, represents the hatred that the Devil, or Lucifer, holds for humanity. The Devil had an issue with humans gaining free will and felt they did not deserve life via God's hands. This is similar to how Hannibal feels that those who are rude do not deserve to live. Hannibal, then, of course, being Satan himself, would be resentful of God for casting him from Heaven. Again, Hannibal often discusses God's motives, or what God feels doing certain things. Literally, a few seconds later in that episode, he says this:

"Hannibal: God's terrific. He dropped a church roof on thirty-four of his worshippers last Wednesday night in Texas while they sang a hymn.

Will: Did God feel good about that?

Hannibal: He felt powerful." Will Graham and Hannibal Lecter - Amuse-Bouche

That last line about him feeling powerful gets me thinking. Hannibal is speaking not just about this but also about his own fall. But more importantly, he's also showing us what he thinks of himself. Killing makes God feel powerful. That means that killing makes Hannibal feel powerful as well. He is both giving motives and somewhat criticizing God at the same time. Hannibal seems to find the situation amusing. I think he believes it quite funny that humans were killed while worshipping God. He might even see a comparison between what happened to him and what happened here. He is simultaneously praising God and calling Him a hypocrite.

Hannibal's motives for killing are also interesting, and I said earlier that I think the reason why he kills is because he believes that rude and ill-tempered people are the problem with humanity. And he wants to get rid of them.

Now, let's explore how this connects with other metaphors, his decisions in canon, and his relationship with Will.

Let's talk about the stag. I did some research, and in many religions, including Christianity, stags represent God and his might, at least from what I could find. I find this interesting because stags are also meant to represent opposition to the snake, another symbol of the Devil. Why is the representation of Hannibal, at least in Will's mind, a stag? I think it actually represents the darkening of Will. If stags are meant to represent good, then that means that Will starts off that way and then slowly follows the stag and is affected by it, which, to me, means that Will is slowly being corrupted. Just like the stag was corrupted due to Hannibal's influence, Will is starting to change and fall deeper and deeper into darkness. It's also interesting that the dynamic between Hannibal and Will is clearly that of one between the Devil and the person they are trying to tempt. Hannibal is trying to tempt Will into changing himself and embracing the darkness inside of him.

Will is Hannibal's realization that humans are actually not that bad. They are complex, and their free will actually makes them relate to him more than he thinks. Will is his weakness, and Hannibal is intrigued by him. If the Devil, which is Hannibal, is the snake, then, in Hannibal's own words, Will is the mongoose that preys on the snake. Hannibal originally fell because of humans, and at the end of the series, he falls because of humanity again. He fell for Will. Will is meant to represent the lamb of God. The symbolism is that Hannibal fell for Will, who sacrificed himself to keep the Devil away, getting corrupted in the process.

Dolarhyde is also a factor. The original painting, "The Great Red Dragon," represents Satan. How does that tie into this idea? I think it's not Dolarhyde who is meant to be Satan; rather, it is Hannibal. We know that Dolyrhde idolizes Hannibal in a sense. Like Will and many of his other patients, which I'll get into later, Francis is influenced by what Hannibal says. Yet another temptation by the Devil. This is also connected to Will coming into his own life because Francis is also manipulated by Will. There is a connection between Hannibal and Will, which is shared via the tempting and manipulation of Francis.

I mean, we have this statement by Jack talking about The dragon, the lamb, etc. Jack says that,

"He's not the Dragon, you are. The Devil himself bound in the pit." Jack Crawford

Hannibal compares Jack to God. But I think they both are, in some way.

Many of Hannibal's patients and the people in his life, in general, are manipulated by him. I mean, some of his patients are tempted and influenced by him to do bad things commit crimes, and murder people. That's very indicative of the Devil's work, in my opinion. Even Jack and Alana end up being manipulated and deceived by him.

There is a lot of other religious imagery and symbolism, so I'll only discuss some of it. To start with, the reference to Bedelia's presentation and Hannibal's name in Italy and what they could represent. I mentioned earlier that in season 3, Bedelia talks about her time in Florence with Hannibal. She talks about how Dante gave a physical space to Hell, a solid concept, but before that, people would say, the "mouth of Hell." Then she says that she was "swallowed by the beast." This refers to Hannibal, but here's the interesting thing. In the Bible, the Devil is also referred to as the Beast. Bedelia is yet again referring to herself being used and brought into the mouth of Hell by the Beast, Hannibal. The name that Hannibal was monikered by in Italy is also the same. "Il Mostro" translates to the monster, which can be interpreted as yet another way to refer to the devil. Then, there is the obvious references to lambs in the show, with it being a sacrificial symbol. I'm sure that's been talked about a lot, and I mentioned it earlier.

There are many mentions of justice, redemption, retribution, and more in the show. This connects with the religious themes, of course, but it also plays into Hannibal's view of himself as a God, as well as how the show depicts him as the Devil. He is the one who casts judgment onto people, like his patients, and onto the rude, like a God. He is the one who issues punishment for sins and misdeeds, like the Devil. I think it's so interesting to see them both working in tandem.

I once saw a post saying that Hannibal acts like he's lived the same life a hundred or so times. And I agree. He does. He acts like he has been around for a time so long that many have forgotten it. It makes sense why he's so confident, and nothing seems to phase him. Nothing that happens has any consequence for him. The only thing, really, that he cares about is Will. That's why he tries to get Will to have his Becoming and Fall with him. He wants Will to be there with him. Which is sweet, I think :) And not to bring up related trauma for anyone that has ever been a fan of Devilman or Devilman Crybaby, but IMO, it really really reminds me of Akira and Ryo and how Ryo is stuck in the same cycle over and over again as a lesson. Idk, my opinion. Let me know what you think.

I also wanted to touch on some other interpretations of the raven stag shown alongside the wendigo and how other religions and beliefs might relate to this.

The Wendigo is a demonic entity or evil spirit from the Algonquian people of Canada. It is a winter spirit that is meant to represent greed and gluttony. When humans succumb to greed, like being greedy for money, being cruel to people, or generally evil things, the Wendigo spirit can possess you. During harsh winters, when food is scarce, people commit taboo acts and consume another human, participating in cannibalism. This also causes a possession and turns this person into a wendigo, never to be satisfied and constantly craving forever. I am not Algonquian, or even Indigenous/Native American, so I can't speak too much on this, and I don't know too much, but I hope I explained it well enough. I apologize if I did not. The show has its own visualization of this, and Wendigos traditionally doesn't look like the one in the show, but the overall message is the same. Even if Hannibal is not the Devil, he could be some manifestation of a Wendigo. It makes sense. Remember his back story? He was forced into captivity while hiding by soldiers during an extremely harsh winter during the war. Harsh enough that food became scarce, and the soldiers had to resort to cannibalism. They fed Mischa to Hannibal, which might have triggered something. Ofc this is a reach, but I did want to bring another interpretation into this.

Obviously, this is all just speculation. I love this show, with its dark complexities and incredible depth, and I wanted to talk about something I've been thinking about for a while now. Again, not everything might be correct. I apologize if that's not the case. Please feel free to correct me. I also apologize if this made no sense or was not cohesive, it's pretty late for me, but I couldn't get this out of my head.

I hope it was interesting ;)

#hannibal #nbc hannibal #hannibal lecter #will graham #hannigram #just a little analysis #i'm sleep deprived so apologies if this makes no sense #i just really wanted to share

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snowyh2o · 2 months

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So here’s something that’s been on my mind lately.

When Rosie gives Charlie advice on her relationship with Vaggie, and whether or not Vaggie really meant all the things she had said or if it was just lies, she tells Charlie that “—words, are cheap. But actions, they speak the truth.”

And the reason I’ve been thinking about this line lately is that, everyone on YouTube and Reddit and occasionally on Tumblr are all clamoring over each other about how “Alastor is clearly the main antagonist/villain of the series”, “Alastor doesn’t actually care about the hotel or Charlie, he’s only manipulating everyone”, “clearly, Alastor’s line about controlling all the strings means he’s planning on taking over hell!”. But I can’t help but feel like that’s…. A very shallow interpretation of him as a character and his role in the story.

The way he’s designed and implemented into the story has him filling the “morally dubious very suspicious and probably out for his own goals sponsor of the hotel” trope, and part of what draws people to his character is that we really don’t know what he’s going to do. Is he going to betray Charlie and the hotel? Is he going to give up on his goals for Charlie and the hotel? How is he planning on using that deal he made with Charlie? What will he try to do to get out of his leash? Because as it stands he could very easily swing one way or the other, or both at the same time.

But I also understand that a lot of people are saying those things because of what Alastor himself says about his goals in the series. Particularly in the finale, but also during the pilot and again in the first episode. Alastor says he’s here to watch people fail for entertainment. He says he wants to take control of the strings. He mocks the idea that he’d die for “his friends”.

But Alastor says a lot of shit, and not all of them are entirely true.

Words are cheap.

So, what do his actions say?

In the pilot he offers Charlie a deal centered around him sponsoring the hotel, Charlie refuses and instead orders him as the princess of hell to help out with the hotel for as long as he desired. Alastor agrees to this, and doesn’t push for making another deal. Immediately after summons Niffty and Husk to help staff the hotel and work on cleaning up the place. He then defends the hotel against Sir Pentious’s death beam and beats him up (because he destroyed a wall and interrupted his song—). He renamed the hotel, and then presumably attached his radio tower to the side of the building and moves in to live with everyone else.

In episode 1, he makes a really well put together video advertisement despite his infamous distaste for anything and everything related to modern technology and TVs. The ad is edited, voiced over, and contains custom animations. He would’ve had to have used a computer to do all this. The video itself was satire, likely because he was very annoyed at being told he couldn’t just make a radio ad for the hotel, and not what Charlie or Vaggie had wanted. Later on, when Vaggie decides to remake the ad, she asks Alastor for a camera, he summons a vintage photo camera (again because of his distaste for all things video) and Vaggie has to specify for a video camera. He summons a video camera that looks like it’s being held together by duct tape for Vaggie, and he’s clearly not happy about it, but the camera he gave her still works, and he still did what she asked of him. When Vaggie fails to make a proper ad, he mocks her in a “not so easy now is it?” Way, before offering to help her make one. He makes a deal with her, being that if he helps her with this ad, that she never asks him to deal with “this frivolous television technology ever again.” When she agrees, he summons up an entire movie productions set along with a change of clothing for all the members of the hotel (going above and beyond with this “help”), and by the end of the day had even pulled some strings and limbs to get it to air that very same day after they were done making it. Also, despite Alastor being in frame for the video, he’s the only thing that’s distorted, even though other instances of him being in frame distorts the whole image.

Episode 2 has Alastor defending the hotel from Sir Pentious’s attack again, though he’s also the reason Sir Pentious was attacking in the first place. And has him summoning minions to fix the wall before he leaves for the tailor. He doesn’t do anything tk Sir Pentious, except act a little threatening despite Sir Pentious having ripped off a piece of his suit, and what his reaction before Sir Pentious became a hotel guest was. Alastor is also seen participating as an audience to the “Drug dealer” skit, probably to laugh at Angel’s misery. He doesn’t do anything about Sir Pentious being a spy for Vox, but does appear to have scared Vox into not trying anything else.

Episode 3 has him interrupting his breakfast to help Vaggie deal with the Egg Bois, humanely. Despite how very obviously irritated he was by their constant pestering, he doesn’t do anything to them, even though he was very eager to do so earlier before Vaggie specified he couldn’t kill/eat them. He even makes sure they don’t get themselves killed by saying something stupid in front of Zestial, and tried to keep them outside the building full of powerful and potentially temperamental overlords. He uses Frank to spy on Carmilla, and threatens him into silence (it didn’t work), but doesn’t try to dispose of them and ends up bringing the whole group back to the hotel.

Episode 5 has him in a pissing contest against Lucifer, and we learn that he makes old timey puns, is a reliable hotel manager, and apparently unclogs toilets for them. Charlie notably, agrees with what he says, or doesn’t say anything to contradict his words, and she’s generally much more comfortable during Alastor’s portion of the song than Lucifer’s. When Mimzy appears, he’s very happy to see her and initiates a hug. Despite this, he insists on joining Charlie with giving her dad a tour around the hotel. Alastor appeared upset at the mention of his 7 year absence, but tries to play it off. When Husk pokes at his sore spot, Alastor pulls out the chains and starts threatening him with a tortuous death should he say anything about that again, but doesn’t do anything else to Husk and leaves him alone the moment he has Husk’s agreement. Alastor actively defends the hotel against the loan sharks after Mimzy, and then seriously asks Mimzy, the only friend we’ve seen from his past, to leave if she’s only here to bring trouble to the hotel. He doesn’t interrupt when Charlie and Lucifer finally reconnect and reconcile.

Episode 7, Alastor speaks with Charlie in private and forces her to confront the situation the hotel is in by mocking her about landing the hotel in hot water. He doesn’t stop when she tells him to leave, and is able to successfully get her out of the bed covers and onto her feet. He offers advice, and a little insight to his own smile. When Charlie is at her lowest and most upset, he offers the solution to her problem for a favor at a time of his choosing where she harms no one. He doesn’t ask for her soul, even though it looked like Charlie was both expecting him to and appeared just about ready to offer it herself. After the deal, he voluntarily takes Charlie to Cannibal Town, no strings attached, to meet with Rosie. He was very bored listening to her vent about her love life, but didn’t try to interrupt her or get her to stop. When Charlie has trouble explaining the situation, he steps in and tells Rosie what kind of favor they want. Rosie agrees to help, because Alastor has never wronged her before. Alastor gives Charlie his microphone with no prompting when she comes back to try and rally the cannibals again. When she looks over to him and Rosie for support, he gives her a thumbs up, despite being somewhat awkward about it. He helps bring the cannibals on board with the offer of angel meat! During a more private moment with Rosie in the song, Alastor stated that he believed Charlie could do it all along. Then talks about how she’s powerful, and wanting to guide her potential, before saying they should stick with her if they want to win.

Episode 8: Alastor is an active member of the war council. He shared the details of his ability, or at the very least his shield, and either volunteered for or agreed to be the one to keep Adam occupied should he enter the battle. He lends his microphone to Charlie again during her final night before the battle’s speech. Alastor shared a quiet moment with Niffty. He doesn’t deride her for her attachment to the members of the hotel when she shares how much she likes them, and even almost agrees with her. When Niffty starts laughing uncontrollably, he looks at her for a moment before joining her in laughing, it’s very forced lol. During the actual battle, his shield was paramount in minimizing the number of angels everyone had to deal with, and he kept Adam busy for several minutes, only retreating after taking an almost fatal blow to the chest by Adam’s holy weapon. He disappears from the battle, but likely stayed nearby, and only went to his radio tower after the hotel had been destroyed or the battle had already ended. In his radio tower, he’s in disbelief over his near death experience. His expression when speaking of how he’d almost died for “his friends”, it isn’t anger or derision, it’s shaken, unsteady, and struggling to keep it together with a smile. He uses his anger and desperation to take focus himself again. In the end, he shows up at the hotel again, appearing perfectly fine and totally uninjured, there’s absolutely nothing wrong with him at all, no siree! (His microphone is missing)

I think, maybe he doesn’t believe in the hotel, but he does believe in Charlie. Whether he’s aware of exactly how much he believes in her, and for what reasons, is unknown, but he’s placed his lot in with her, and he’s put a shocking amount of trust in her as well.

He’s also put in a shocking amount of effort into keeping the hotel running and doing what Vaggie and Charlie have asked of him for something he claims to think is a joke. If he weren’t serious about it all, he wouldn’t have been nearly this cooperative with it. Just take a look at what he did for the ad when he was doing it begrudgingly!

So I don’t believe him when he says he’s only in this for the entertainment. I don’t believe him when Alastor’s reassuring himself that he’s only in this for himself, that he doesn’t give a rats ass about the rest of the hotel.

He’s spent a little too much time and effort for it all to have been meaningless to him.

Alastor’s words are cheap. But his actions do tell some semblance of truth.

#hazbin hotel #alastor #alastor hazbin hotel #meta analysis #alastor analysis #Alastor meta #hazbin hotel analysis #hazbin hotel meta #long post #what Alastor says vs what he actually does #for the hotel #for Charlie

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