Latest Posts by rosehen96 - Page 3

Because TF community doesn't know how to normally find old generation of Shattered Glass, I want myself to introduce the products of it. Only titles but I would gladly give a links if you need. Sooo... We have -

1. Shattered expectations (little comic debute for 1 April)

2. Transformers timelines #3 (comic)

3. Dungeons and dinobots (novel)

4. Do over (novel)

5. The desert heat (comic, but not really important. Just two pages)

6. Eye in the sky (novel)

7. Blitzwing bop (novel)

8. Transformers collector's club #25-#29 (comic)

9. Transhuman (novel)

10. Transformers timelines #7 (comic)

11. Beast wars shattered glass (comic)

12. Coalescence (novel)

13. Transformers collector's club #60-#66 (comic)

Hope I helped you . Also I want to say that novels here are reeaaaly good. Well, that's just my opinion. Also old SG have some crossovers and one little comic I couldn't find anywhere

There's a huge difference between redemption and humanization. I feel like a lot of "redemption arcs" aren't actually redemption at all, they're just attempts to humanize the villain so that they seem multi-faceted, but people read them as "redemption arcs" and think that that is meant to justify all the evil they've done before and negate whatever made them a villain in the first place. I think true "redemption arcs" are actually kind of rare because true redemption would take making the villain acknowledge their crimes, reevaluate their actions, actively choose to do better, and then proceed to make amends and become a better person, and that would this take more time than most stories are allowed to give their characters.

I've also seen people argue that a character has to be poised for redemption from the jump for it to work because once a character does something "too bad", they can't be redeemed. I completely disagree because redemption isn't justification or forgiveness, so no matter how horrible a character's actions, they could choose to become better, but because a lot of people (including writers) think redemption means "erasing the character's flaws and making it so they did nothing wrong ever", a lot of attempted "redemption arcs" just end up erasing a character's entire history or justifying every evil thing they've ever done. And yeah, in these cases, the only way to make a character go from a villain to a perfect cinnamon roll with no flaws *is* to have been planning it from the beginning and make sure they never do anything that can't be explained away later.

TLDR: real redemption arcs require a lot of self-awareness, patience, and growth, which are things that are rarely actually allocated to villains, and that's why real redemption arcs almost never get executed. The reason people think redemption arcs are overdone is because there are so many attempts to either humanize a villain that get misconstrued as redemption or attempts to blatantly erase who a character was in the name of "redemption", which is really just poor character development.

How your disabled character's allies react to their disability can make or break the representation in your story: Writing Disability Quick Tips

[ID: An image with “Writing Disability quick tips: How your character's allies react to their disability matters” written in chalk the colour of the disability pride flag, from left to right, red, yellow, white, blue and green. Beside the text are 2 poorly drawn people icons in green, one is standing with their hand up to the face of the other, who is in a wheelchair. /End ID]

Something I brought up in my big post about Toph Beifong was how the other characters reacted to Toph pointing out that things were not accessible to her and setting boundaries regarding her disability, which were ignored. I had more to say about it than I thought I did, as it turns out (when isn't that the case lol) but I feel like this is an important aspect of disability representation that is all too often over looked.

You can write the best, most accurate portrayal of a specific disability ever put to screen or page, but it won't mean much if all the other characters, specifically those we're supposed to like and empathise with, treat your character terribly for being disabled and having needs relating to said disability, especially if the story justifies their behaviour.

You see this most often with autistic characters and especially autistic-coded characters. The character in question will be given a bunch of autistic traits, most often traits relating to not understanding certain social dynamics or sarcasm, and when they get it wrong, the other characters we are supposed to like jump down their throat, tease them or outright abandon them. Autism isn't the only disability that gets treated this way, but it is one of the more common ones that get this treatment. It doesn't matter if you do everything else right when creating an autistic character if the other "good guys" constantly call them annoying, get angry at them or laugh at them for the very traits that make them autistic, or for advocating for their needs.

Likewise, if you have a leg amputee character who is otherwise done well, but is constantly being criticised by their allies for needing to rest their legs or taking too long to get their prosthetics on, it undermines a lot of the other work you've done. Same goes for having a wheelchair user who is accused of being a bore or a stick in the mud because they point out the places their friends want to go to on a group holiday have no wheelchair access, or a deaf character who is accused of being entitled for wanting their family to learn to sign, or anything else.

This isn't to say you can never have moments like these in your stories, but its important to remember that a) people with the same disability as your character will be in your audience. If you spend a whole season of your TV show shaming your autistic character for real traits that real autistic people have, they're not exactly going to feel welcome and may not want to hang around. b) it's going to very, very heavily impact people's perceptions of your "heros" who do this, especially in they eyes of your audience members who share the character's disability or who have had similar experiences. This isn't like calling someone a mean name or being a bit of a dick when you're sleepy, it's going to take a lot to regain audience appeal for the offending character, and depending on exactly what they do and how frequently they do it, they may not even be able to come back from it at all. And finally, c) there should be a point to it outside of just shaming this character and saying the other guy is an asshole. Like I said before, you're character is criticising real people's real disabilities and the traits or problems that come with them, things that they often have no control over, it shouldn't be used as a cheap, quick way to establish a quirky enemies to lovers dynamic or show that one guy is kind of an ass before his redemption arc. If you really must have your characters do this, be mindful of when and how you use it.

I'm on the record as saying that I never care when white characters get recast as POC (like with Namor and MJ in the MCU); however, there is one distinct exception to that. I believe Charles Xavier has to be white. Hear me out.

I'm approaching this with the characterization of Charles Xavier in the comics (not the Fox films, as it has been so long since I've seen them) and my own interpretation of the politics surrounding his character. I would love to hear some alternate perspectives, provided that it is all polite discussion ofc.

As I alluded to in an older post I see Charles Xavier as a very liberal character. He is always for assimilation and has a tendency to prescribe the "model minority" mindset. He uses his most attractive and human passing mutants as the face of his team. Never in the comics did he publicly identify himself as a mutant- Cassandra Nova was the one controlling his body when he publicly came out as a mutant. Charles' wealth and his whiteness prevents him from seeing the reality of the mutant situation, it is the reason why him and Erik are always at odds. Erik, as a Holocaust survivor, understands the patterns of discrimination and bigotry. He understands that no matter how much the submit to the mold of "well behaved mutants" they will never be treated the same.

Charles, in my mind, encapsulates the liberal fixation on both the aesthetics of bigotry and the individual. Bigotry is bad when people yell slurs and commit hate crimes. Slurs are yelled by individuals, and hate crimes are solitary events perpetuated by individual bigots. Erik was always a character who attacked the system. He wanted to dismantle the systems responsible for the oppression of mutants. Charles is someone who has benefitted from that system, even as a mutant, and on some innate level is afraid of changing that fact. I think being white and wealthy contributes greatly to the philosophy of Charles Xavier. The politics of mutants and the X-Men universe has always been something of great interest to me and this is just the way I see it. But, what do you guys think?

a redemption arc is not a sacrifice.

a redemption arc is not some grand act of selflessness.

a redemption arc is not meaningless pain and suffering.

a redemption arc is simply facing the consequences of your actions, fixing your mistakes and doing better, regardless of whether you will be forgiven or accepted. that's it.

Yesterday the 12th of May was Fibromyalgia awareness day. I'm a little late uploading it, but spreading awareness is being done nonetheless. Lots of love for my chronic pain people!! <3

Revised concept for a spider-person bounty hunter. This arachnid like figure hunts down hard to find targets, namely those who have escaped justice by hopping dimensions. She's cold and cunning, and highly venomous. She suffers from severe resting bitch face.

After the release of the mini series, I've started to slip back into my dormant Zootopia hyperfixation, and boy let me tell you, it's one of THE HARDEST fandoms to find content that interests me.

Why?

Because 97% of it is just Judy Hopps/Nick Wilde shipping. All of it. Fanart, fanfics, it's just the shipping.

What drew me to Zootopia was the worldbuilding aspect and the animals who live in that world. Just... this entire city filled with so many different species that was architecturally designed to fit ALL OF THEM no matter what climate they're from or size they are. That just fascinated me!

Yet all the fanfics don't really explore all that. I can count the number of fanfics I've read about regular people on one hand. There's the one about the therapy sessions for the animals who got affected by the Savage Predator crisis, the one about the tiger and the rabbit single mom who had several chance encounters and became friends, and........ actually, that's it.

I dunno, I guess I'd rather read about a mouse being roommates with an elephant or something, how would that work? What are their lives like? Or maybe I just want to read something about the struggles of the leopard who runs a small cosy coffee shop having to compete with the Snarlbucks across the street (yes, that is the canon name for Starbucks in the Zootopia universe. That's another part of the worldbuilding I like, all the brands have animal pun names and I find it unreasonably hilarious) Or maybe an animal moving to one of the districts that is NOT a climate they can comfortably live in and having to make do with it, all because they put the needs of their best friend (aka an animal that does live in the climate they moved into) above their own.

Just simple slice of life stuff.

I have this entire slice of life fanfic idea in my brain that I'll probably never get around to writing that has pretty much zero canon characters in it at all. It has an entire cast of OCs just because I liked daydreaming about how the regular citizens of Zootopia of all shapes and sizes live their lives.

honestly seeing godzilla minus one just made me even more jaded to the monsterverse fans who act like it doesn't matter if the movies are badly written because "it's just a godzilla movie" as if there isn't physical proof in both minus one and also shin godzilla that godzilla films can be more than that.

but EVEN THEN i'm not even fucking asking that the monsterverse fundamentally change to become poignant pieces about ptsd and survivor's guilt and government inaction, i'm fine with them remaining fun little action movies primarily about big monsters punching each other, literally all i'm asking is that the human plots do something other than (a) put me to sleep or (b) barely hold themselves together long enough to get to the next scene.

pacific rim is a film first and foremost about big robots punching big monsters, but it also has a genuinely well written human storyline with fleshed out characters. it doesn't have a half-baked plot built only to loosely connect the monster battles, it has an actual story.

like you guys "fun action movie about big monster battles" and "decent script" are not mutually exclusive and it's an insult to the kaiju genre to act like they are. and you should also take it as an insult to the fans that studios think they can ship out rushed scripts because audiences will give them money for it anyway. like, besties, i like the monsterverse. i just also acknowledge that the movies are lowkey shit and want them to be better and hope they will be in the future.

the fact that "eco" and "ethical" are two separate concerns in the global north, and that "eco" is a much more popular concern, with many "eco" products being made in actual sweatshops, is a big part of why i am The Joker

Hi! I’m really sick of whitewashing and the various excuses that artists come up with, so I wrote a guide! How To Not Whitewash, at least with regards to skin tone. Please make use of it, and encourage other artists to do so as well. Here’s a link to this guide on a Google Doc - this document has image descriptions. Feel free to contact me if the link stops working, or if you have questions (in good faith).

— the official hawkmates (hawkman/hawkgirl/hawkwoman) relationship chart

Megatron's Opposite Day

"I free slaves"

This is Soundwave binding Ratbat but seeing as Megatron did the same thing to Pentius by putting his spark into Trypticon and reformatted Rumble and Frenzy into cassettes against their will I think he approves a lot of this practice

Megatron on Optimus and humans, after his defeat in All Hail Megatron ⬇️

he really salty

"I implant ideology" aka brainwashing

Decepticon cause = Megatron. nuff said.

"I liberate cities" says the person who let Nyon burn to make a point

Cities are too small, think bigger

Holding New York hostage.

"Like Autobots, they believe in the sanctity of life" which he doesn't. Kudos for being honest.

Allowing troops to do free-rein massacre is a reward for conquest. Nothing like some easy murder for de-stressing.

The Simanzi massacre which halved the Cybertronian population is off-screen so it doesn't deserve its own pic

"The revolution"

"We only feel good when we stand with a blade in one hand and a throat in another" "Let's make the entire face of the planet into our new gladiator arena"

What nice, confidence-inspiring revolutionaries. I'm sure they'll rule the population with benevolence after they've killed all the Necessary People with Necessary Violence. Final interpretation of what constitutes as Necessary is reserved for the sole discretion of Megatron, ofc.

Good goals.

Sentinel might be an absolute asshole but at least he's got one thing right: they're literally a gang of thugs who gets high off murder.

"The people are my utmost concern"

'The people': ................

"Battling for freedom"

Freedom of what? Function? Autonomy?

Religion?

the ability to choose whether to fight? on which side to fight?

Idk why they used the word "pogrom" for this, it's way too specific

Anyways it doesn't matter, they won't be missed.

Good for Bumblebee for calling him out. Screenshotted this just to appreciate Megatron's bitchy face ⬇️

Other urban legends:

"Megatron loves Cybertron" let's just burrrrn it

He did fight to save Cybertron in Chaos Theory but also made it pretty clear why he did it. It's not out of the goodness of his heart or any sentimental reasons like that. It's an ego/dominance thing.

Plus his wording when he's trying to convince Optimus to let him go with the Lost Light: "I broke the planet. And that, Optimus, is why I owe it to you - to everyone - to find a replacement."

Replacement.

In other words: I made a mess and can't be bothered to clean it up, so I want to get away from it and find somewhere new to start clean.

I don't think Optimus appreciates the favour.

"Megatron tore down a corrupt government" which is true, just too bad that he's worse

He's also, um, a closeted Zeta admirer?

"Megatron advocates equality" ???

Megatron x dictatorship is literally his OTP. They were inseparable for four million years. A lot of people died trying.

"Megatron cares about the Decepticons" no he doesn't. Not his troops nor its cause.

Like for one thing he treats them with complete scorn

Admits that the most useful thing about keeping Starscream around is that he can bully underlings into line

Wants to use the humans' nuke to get rid of his troops and reformat them into peaceful drones after they outlive their use because they were "too ruthless" for his perfect peaceful society

Has zero scruples about fighting Deceptigod, just affronted that his own soldiers are being used against him

And basically just drops the Decepticons like a bag of vermin after he surrenders. He never once mentions them of his own accord, other than to insist he has nothing to do with them. Even his surrender speech is something Optimus makes him do as exchange b/c he wants to go on parole. He wasn't planning on making a public address otherwise, he was just going to leave them hanging.

Looking at the publication timeline, Megatron started out as an established Evil McEvilson-type villain similar to how he is in G1 and it's not until Chaos Theory in 2011 that JRo really gave him a sympathetic backstory that drew his characterization away from the bloodthirsty pugno ergo sum warlord into someone who once held ideals about societal reform and remains convinced of his own moral supremacy throughout the 4 mill years of death and war, adding worldbuilding such as Functionism/oppression/government corruption as justification for the beginning of the Decepticon movement. But because the start of the Decepticons was already written in Megatron Origins and every evil thing he'd done up till Chaos Theory can't be retracted and they had to keep Megatron as a villain until his story was no longer central to the Autobot-Decepticon war line, and JRo didn't try to downplay the atrocities he'd committed (some of the most sadistically disturbing things Megatron did were exclusively in MTMTE flashbacks), but rather tried to distance him from them and placed the focus on the juxtapositions to emphasize change, this as a whole just resulted in Evil McEvilson getting turned into Hyper McHypocrite.

Greetings bugs and worms!

This comic is a little different than what I usually do but I worked real hard on it—Maybe I'll make more infographic stuff in the future this ended up being fun. Hope you learned something new :)

If you are still curious and want to learn more about OCD, you can visit the International OCD Foundation's website. I also recommend this amazing TED ED video "Starving The Monster", which was my first introduction to the disorder and this video by John Green about his own experience with OCD.

The IOCDF's website can also help you find support groups, therapy, and has lots of online guides and resources as well if you or a loved one is struggling with the disorder. It is very comprehensive!

Reblog to teach your followers about OCD

(But also not reblogging doesn't make you evil, silly goose)

Hey Y’all,

PLEASE SUPPORT AND SHARE

I am a Disabled Trans adult In need of a new wheelchair, my current one is not meant for long term use and is extremely uncomfortable, I have a cat bed on the seat to attempt to make it more comfortable but it’s not comfortable still, and the legs that the wheelchair came with are to big and I cannot get around in my house so I changed them for foot slings but the ones I got are either extremely painful for my feet and ankles (I’m a ambulatory wheelchair user so I can still feel my legs but I need a wheelchair most of the time especially when leaving the house,) and the other foot sling broke, I was able to find a wheelchair that fits the needs I have, it’s $952.00 but that would be my whole ssi check which I only get once a month and I’d still need more money to pay for it, my father has agreed to pay for half as long as I pay him back but I still would have to not buy necessities for a month and I would have no money left over,

If you can and want to please donate so I can get the wheelchair without using all my ssi,

My goal is $476.00 but any amount I end up with will be helpful still

SUPPORT HERE

Comics making 2 final: part 1/3

Read your post about the black-and-white nature of the show and I see your point, however, I personally would really like to see how they handled the idea of redemption for characters like Adam and Val. Or at the very least, how Charlie engaged with them in a way that encouraged better behaviors. I think the biggest hurdle to any redemption is that not everyone wants it, you have to convince them or let them get there on their own... but (and I think this is personal based on your own morals/culture) I strongly believe anyone is capable of it. Luckily this is taking place in the afterlife, so people have truly unlimited time to self reflect and get to a point of wanting change.

That being said, I think characters with much graver crimes (Adam and Val) make for a far more interesting story within this topic. Due to the nature of what they've done, they require you to really dive into who they are as people, what their past is (what is informing their decision-making), and, importantly, what "improvement" means for them. I think you can still do this with the current cast too (Angel and Sir Pentious) but we never see it, which is frustrating.

How am I supposed to buy into Sir Pentious' redemption when we have no idea what he did in life to end up in Hell? Angel was a mobster... and yet all he has to do to "redeem" himself is stop taking drugs? What about his victims?

I think redemption should be complex, have many ups and downs, and needs to focus on not just the individual (how they got there) but their victims too (especially their victims, actually). And if the goal isn't redemption, it can still be "improvement" with a focus on getting a person to truly reconcile with the impact of their actions and how they can make better choices in the future.

All that said, it is clear to me (sadly) this show does not want to focus on these topics and dissect them in an interesting way. It teases them, which gets a person like me excited (I love the thought exercise because I do absolutely believe there is good in everyone, that is just my own deeply held belief), but then we get such a lukewarm portrayal of it that barely scratches the surface. Would have really enjoyed seeing the show double down on "yes, everyone can be a target for redemption" and then actually explore the impact of that and how Charlie's little summer camp exercises aren't going to cut it.

It's pretty sad how shallow Hazbin's themes feel when there is so much interesting potential to explore from it. But the show never bothers exploring that potential and chooses the most shallow, surface-level execution of it. Charlie trying to redeem Val and Adam could actually be interesting....but Viv doesn't want to give them any more personality or depth beyond them just being one-dimensional assholes so, ya.

Hazbin's themes feel hollow for many reasons I previously talked about but this is the biggest one; the show barely actually explores them, it only touches the surface and nothing else. In a show all about redemption, it's super funny that most of it isn't even dedicated to redeeming sinners at all.

It's just a shame because Hazbin's message is interesting and sweet, but it never bothers deconstructing that message or exploring what redemption truly means. It only explores the surface-level stuff which makes it feel incredibly hollow.

"11,078 and counting have died in Palestine. Never stop talking.

Also this is just the surface, do further research to fully understand the situation.

Also this is just the surface, do further research to fully understand the situation."

Art credit: @flyingkikii

Reposted from @frxchix

“This triangular dynamic among bully, victim, and audience is what I mean by the deep structure of bullying. It deserves to be analyzed in the textbooks. Actually, it deserves to be set in giant neon letters everywhere: Bullying creates a moral drama in which the manner of the victim’s reaction to an act of aggression can be used as retrospective justification for the original act of aggression itself. Not only does this drama appear at the very origins of bullying in early childhood; it is precisely the aspect that endures in adult life. I call it the “you two cut it out” fallacy. Anyone who frequents social media forums will recognize the pattern. Aggressor attacks. Target tries to rise above and do nothing. No one intervenes. Aggressor ramps up attack. Target tries to rise above and do nothing. No one intervenes. Aggressor further ramps up attack. This can happen a dozen, fifty times, until finally, the target answers back. Then, and only then, a dozen voices immediately sound, crying “Fight! Fight! Look at those two idiots going at it!” or “Can’t you two just calm down and learn to see the other’s point of view?” The clever bully knows that this will happen—and that he will forfeit no points for being the aggressor. He also knows that if he tempers his aggression to just the right pitch, the victim’s response can itself be represented as the problem.”

—

The Bully’s Pulpit            On the elementary structure of domination

David Graeber

(via argyrocratie)

Dyslexic adventures!

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ristay

The horribly awkward, unique and embarrassing stories of ristay.

from the r/Jewish subreddit:

The Toxic Romance of Fizz/Ozzie

I have gotten an ask in regards to depictions of abuse in Helluva Boss and there is obviously much to say on the topic. Many others have gone over and criticized the show for its poor examples of abuse, however I believe a greater problem exists on the flip side of that topic. Hand in hand with abusive relationships, the show has crafted romantic ones that are just as damaging to the young adult audience this show appeals to. Just as some say that poor representation of abuse and abusers puts people at risk of becoming victims, so too does the poor representation of love and romance turn into a quagmire of unhealthy codependency that sets unrealistic standards for relationships and people that are inevitably going to become toxic when removed from fantasy.

It is one of the few reasons why I insist that Helluva Boss is not a show targeting adults, as it does not appeal to mature individuals with any true life experience. Overwhelmingly striking a chord with the stunted, socially disabled adult minority, or the emotionally volatile demographic of early twenty-something teenagers who have yet had the experience in life to identify harmful relationships or the biological maturity of their brains to reason outside their emotions, who make up the majority. It feeds off the sense of victimization that both of these groups harbor towards reality and requires a fantastical disconnection of such to engage with authentically.

That is not to say this is an attack on that group. As seen before with the meteoric rise of damaging media like “50 Shades of Grey”, it is not fair to claim no one can authentically interact and enjoy the material at presentation. Identically it is not proper to claim that individuals who enjoy this sort of media for what it is are somehow of subpar intellect. However, it is more fair to recognize that many who did see “50 Shades” as a romantic tale often ended up in abusive relationships when seeking out that “ideal” they believed the book portrayed. Many individuals who wandered into the kink scene looking for their own Christian Grey found exactly that as they were manipulated, controlled and taken advantage of by unsavory individuals. As such, this is not to say that media of this sort should not exist or be banned, but that coherent and concise criticism is necessary for these topics to keep people from reenacting unhealthy and toxic relationships.

In the words of Youtuber Swoop, “It’s not drama, it’s dangerous.” I feel it rings true here and for artistic media in general. It’s not just fiction, and it can have a real world impact on people, relationships and lives.

I covered over some of the issues with Stolitz in a previous post found *HERE*, but for this breakdown of harmful depictions of relationship dynamics, I’m going to be focusing on FizzaRolli and Asmodeus. The reason being, this is a textbook codependent relationship that is portrayed as an ideal through the narrative, and it is rather alarming to witness the way the fandom fawns over it. As I previously pointed out in *THIS* post, the issue with the Fizz/Ozzie relationship in the special episode is that the story conflict is FizzaRolli’s codependent nature on Mammon not being corrected, but rather redirected to being purely codependent on Asmodeus. I have legitimately seen it argued that because the characters are happy in their relationship, then the codependency is just love, which is why this essay is being written in the first place. This is direct evidence of a harmful and unhealthy dynamic being sold to an impressionable and immature audience to their own detriment.

According to PsycheCentral, codependent traits can be broken up into cognitive (how you think), emotional (how you feel), and behavioral (how you act).

Cognitive traits of Codependency are that the individual has difficulty identifying their own opinions from another person’s, primarily the target of the codependency. This means the individual will often conform themselves implicitly to the beliefs of their target. They lack a stable sense of self and attach to their target in a way to ground them psychologically. Additionally, they struggle to identify or express their needs because of this lack of identity. And it should be made clear that the lack of identity does not mean that they see themselves as an extension of the other person, but are highly changeable and lack any core sense of who they are or what they believe in. Their self image is so volatile that the act of codependency is a maladaptive coping skill to find some form of stability in another person. This also extends into a form of mirroring; taking on the desires of those around you as your own.

The episode makes it very obvious how FizzaRolli is codependent on Mammon because it is seen in the negative lens it is expected to be. FizzaRolli’s opinions and beliefs are mirrored images of Mammon’s greedy philosophy. Being the best with all the money and fame is what Mammon has instilled in Fizz’s core, and from the jump Fizzarolli expresses these values as his own. FizzaRolli doesn’t communicate with Mammon out of a sense of fear and often shelves his own feelings and desires to accommodate the King of Greed. These are obvious and I am sure everyone can easily identify them in the dynamic.

However, these are identical to FizzaRolli’s dynamic with Asmodeus. At the end of the episode when Ozzie and Fizz have their minute in the greenroom, Fizz consistently fails to communicate with Ozzie about his needs or desires. In context of the episode’s opening, FizzaRolli is able to easily lie to Asmodeus as to why he is participating in the pageant. It is never established that Fizzarolli is expected to participate, additionally his job with Ozzie would make his need to be hired by Mammon obsolete, let alone their relationship. So it appears to be solely Fizz’s choice as to why this episode occurred in the first place. It is obvious that Fizz feels out of control and overwhelmed about this situation, but he believes Ozzie would want him to participate because he would “lose him” otherwise.

Which means FizzaRolli believes his participation in the pageant is also what Ozzie actually wants, seen when he says “You’re with me because of who I am at my best!” And FizzaRolli is so entrenched in that belief that he imposes it on his partner despite Asmodeus clearly stating he would wish Fizz wouldn’t go. FizzaRolli’s decisions and thoughts are just as entirely embedded in the thoughts, opinions and desires of Ozzie, if not more, than Mammon. Just because Asmodeus’ cognitive priority is Fizz does not change the toxic codependency that this cycle is rooted in. It could be argued that because Ozzie rejecting FizzaRolli’s belief at the end of the episode allows Fizz the freedom to quit, it is only because of Fizz’s belief that Ozzie wanted him in the pageant, not Mammon, is why he ever forced himself to go in the first place.

Emotional traits of Codependency can be broken down into a single feeling: Fear. The difficulty of saying “no” due to a fear of rejection or abandonment. A fear of not being accepted, loved or supported. Feelings of inadequacy and low self-esteem are all intrinsically tied to a codependent dynamic. This results in the individual giving of themselves beyond their own boundaries in order to appease their target and maintain a sense of value to that person.

Again, this is clear in FizzaRolli’s dynamic with Mammon. He never asserts himself in any way regardless of how uncomfortable he feels while simultaneously pushing the limits of his own mental and emotional health to the point of resentment. He attributes everything he is and has to Mammon, highlighting his utter lack of self-esteem. Additionally, the episode goes out of its way to show Fizz feeling inadequate in direct contrast to the competition.

This inadequacy goes deeper still, however, when presented with the Fizz/Ozzie dynamic because FizzaRolli believes he is unworthy of his relationship with Ozzie as a fundamental basis. He says, “I’m barely worthy of working with a King of Sin … Without all this, I’m just nothing.” And it isn’t FizzaRolli who finds value in himself. He spills himself out to Asmodeus, leaving himself vulnerable and empty, and instead of seeing his own value, it is Ozzie who fills him up. He originally places his value in his work. His fame and abilities are what his entire sense of self-worth is hinged on, which gets replaced by another external source that FizzaRolli arguably has less impact on One could argue that while unhealthy, FizzaRolli has a direct input in his work and thus feeds his self-esteem through his own merit. The solution to that problem is to give up all control and ownership of his emotional state for it to be regulated and maintained entirely by Ozzie. One could reasonably say that the solution to this episode’s conflict was for Fizz to actually become less of a whole person to find happiness.

And then there are the behavioral traits. Keeping in mind the emotional motivation behind all behavior is fear, the individual may take on more responsibility than they can handle or are not even their responsibility in the first place; pressuring themselves to support their target, getting caught up in the other person’s matters, or even “rescuing” them from their hardships. They tend to overshare, lack boundaries and are constantly seeking external validation and approval.

For this one, I’m skipping the Mammon comparison entirely because I feel the situation is self-evident. Instead I am going to pivot slightly to add onto this thought:

In the PsycheCentral article, licensed marriage therapist Kate Engler says, “All codependent people are people pleasers, but not all people pleasers are codependent.” She proceeds to expand this point by explaining how Codependency is a more extreme form of people-pleasing due to its mutual nature. When two people are in a true codependent dynamic, neither party can function without the other one.

That is to say, Asmodeus is also codependent on FizzaRolli.

Ozzie does not express his codependency in such a way that feels so textbook in comparison due to his social superiority, however, we see in Oops how codependent Asmodeus is on FizzaRolli to regulate and maintain his own emotional state. Ozzie is so incapable of functioning without Fizz that, if not for Stolas, he would have immediately signed away all his factories and even resulted in the death of his partner. He doesn’t make decisions based on his own values, but denies Stolas a crystal due to his partner’s wants and desires. Asmodeus’ proud announcement of doing so, as well, shows a degree of approval seeking. Being so pleased with himself on the belief that he did what his partner would have wanted him to do, and openly seeking validation for that decision as well. He lacks any sense of self outside of elevating FizzaRolli and Fizz lacks any sense of self outside of Ozzie’s approval.

The sole reason this relationship even seems to be healthy is because of the fact that Ozzie has no character outside of being in love with FizzaRolli. The unrealistic nature of a whole other human having no will, desire, or purpose outside of being in love with you is unrealistic and unhealthy. It is predicated on a belief that another person will make one "complete", placing the responsibility of your existence as a person on another and believing that is love. It is handing someone a gun to aim at your head, but its okay because they will never pull the trigger. If Asmodeus had any sense of his own identity, he would inevitably cause immense emotional and psychological harm to Fizz, and the only saving grace is that he is poorly written.

The result is that FizzaRolli and Asmodeus depict a fundamentally toxic dynamic being depicted as mutual support and love. It is a demented ideal of what a healthy relationship should look like that is actively poisoning the concept of relationships for an entire demographic of young people. It reaffirms anxious attachment styles that a concerning majority of the fandom embody, fundamentally dooming a percentage of those individuals to replicate this rotten cycle in their own reality. Regardless of how few people ended up abused following their romanticization of 50 Shades of Grey, the fact that even a single person ended up in that position due to a piece of media is too many. As such, I feel it is beyond necessary to denounce the “most wholesome” relationship of Helluva Boss for the dysfunction it actually is.

One of the main reasons why Sir Pentious getting to Heaven felt so underwhelming and unwarranted to me is that HH paints it as Charlie's redemption theory being valid and true and her methods actually working

When she barely did anything to help Sir Pentious as the show barely showed us what Charlie's methods are beyond that trust fall bit you can see in summer camps

It doesn't help that redemption is about correcting the wrongs of the past after fully admitting you were at fault when you did them and feeling legitimately regretful that you committed those wrong acts

... We still don't know what Sir Pentious did in his past to end up in Hell. We as an audience know JACK about his backstory and I don't think the cast knows anything about it either

By all means, SP might have gotten to Heaven for doing things that had nothing to do with his mistakes back when he was alive. If that's the case, then not only is Charlie's redemption theory false as what happened with SP has nothing to do with redemption, her methods to reach Heaven are pretty basic and already standardized which brings the potential for the show down to zero. The premise got shot with this finale twist as it's pretty clear Charlie's methods at her Hotel are formulaic and don't depend on the sinners' past wrongs

You know what could have been a good concept ? Have Charlie show SP's progress to the Council of Angels through the globe instead of Angel Dust's only for them to ponder about it and see rather positive on the matter, Sera included, before saying: "As final trial, we will bring them here and have them be his judges."

The doors open and a dozen angels walk in having seemingly been summoned

The Council motions to the globe: "You have been called today to make an important decision. We would like you to first observe this fully then answer a simple question."

The angels do that, they watch the entire reel of everything SP did while under Charlie's care, with Charlie nervously anticipating their answer

The Council: "Now for the question: From all that you've seen,

Would you consider this man worthy of redemption and as such ready to join this side of the Afterlife?"

Many of the angels are just dumbfounded at hearing this, a bunch just storm off and others look scared at the thought.

What remained decide between each other before whispering the answer to Sera

Sera then declares simply: "The Jury have made their decision :

Sir Pentious hasn't done what it takes for his soul to be redeemed and accepted into Heaven."

Charlie: "What? Why not? Not that I have anything against your Jury but what power do they have to decide that you lack for this decision?"

Sera: "The Jury overseeing your Sir Pentious is made up of every soul he has wronged in his past. You have to understand: They have fairly earned their Afterlife regardless of what awful and unjust things he has done to them. To have us decide ourselves if he can join them up here after all the wrongs he has done to them in the living would be unfair; as such the final decision is theirs. If they see his new ways as a true change on his part and choose to forgive him, he would have indeed earned his place in Heaven.

This wasn't the case today."

I want this so much. I want Hazbin to be in the hands of someone mature enough to actually write this.

"Nice characters are boring" to YOU. I love characters who no matter what, will always have genuine love for humanity in their heart. Characters who dance and laugh and sing with sincerity. Characters who believe in others, and are willing to extend a helping hand to people when no one gave them the same luxury. Characters who have gone through so much but believe, no matter what, that humanity and life is something beautiful and worth protecting

People like to pretend I will "get better" so they do not have to think about the deadly lie they are living. Abandoning disabled and high-risk people to preventable death is eugenics.

To clarify, this is NOT just an American issue -- think of the "pan" in pandemic.

The MSKCC Library

The People's CDC (weekly weather reports on COVID in the U.S.)

Image IDs available in Alt Text and written out below:

Image ID begins. A black and white cartoon comic titled Pandemic Year 4. This is panel 1. A boy with short hair — Joey, the author of the comic — is holding a Christmas wreath and handing it to his boyfriend, a boy with long hair and a beard, who is standing in a window while decorating. The text reads: This year, my boyfriend and I got fresh pine wreaths from the farmer’s market — our fist big Christmas decorations together!

Panel 2. A hand holds pine needles. Cartoon stink clouds radiate off of the pine needles. The text reads: I break pine needles between my fingers and it smells hideous. Pain shoots through my head.

Panel 3. Joey stands in front of a table on which there are various foods. He looks disgusted and is covering his nose and mouth with his hands. The text reads: This is how I have lived since my February 2020 COVID infection. COVID caused brain and nerve damage, making everything smell and taste like rot. The condition is called parosmia, and it has no cure. Eating is a nightmare.

Panel 4. Joey’s boyfriend, a taller boy with long hair and a beard, puts his hand on Joey’s shoulder. They are shown from behind and are both wearing backpacks and winter coats. The text reads: Last week, my boyfriend walked me home from work midday after I had a near-fainting episode. I wear a heart monitor full-time. Doctors say I’m “too young”.

Panel 5. Joey is shown from behind, sitting sadly and gazing out a window. The text reads: I’ve literally been isolated from the rest of the world for four years. One COVID infection destroyed my life, and I can’t risk another. How can I get you to understand? After becoming disabled by COVID at 19 years old, I have been completely shut off from the outside world.

Panel 6. Joey stands in between two maskless and anonymous figures. Joey looks uncomfortable and is crossing his arms and gazing at them. He is wearing a respirator mask and goggles. The figure on the right is holding a bag labeled “food Joey can’t eat”. The text reads: “Friends” and family who have seen the depth of my suffering for four years have stopped masking and can’t be bothered to care. Family Christmas meant that I had to reiterate daily that I would not and physically could not eat at restaurants.

Panel 7. A drawing of an open laptop, next to which lays an N95 mask. On the laptop, a headline from the Washington Post is displayed. The headline reads: Covid kills nearly 10,000 in a month as holidays fuel spread, WHO says. The comic text reads: This winter has been the 2nd highest peak of the pandemic, with at least 10,000 Americans dying of COVID in December. Playing pretend at “normalcy” is profoundly violent and deadly. Under the comic frame, a citation reads: The Washington Post, January 11, 2024. This is an undercount, as there is no more COVID tracking in the U.S.

Panel 8. A drawing of Joey gesturing at an educational chalk board with a pointer. He is wearing a respirator mask, goggles, and a sweater vest. The text reads: COVID is a virus that causes long-term damage to your organs and nervous system. It’s also a Biosafety Level 3 pathogen, like tuberculosis, meaning that is can be lethal upon inhalation and requires special and serious PPE in Laboratories. The Memorial Sloan Kettering Cancer Center has a digital library of research on COVID impacts. https://libguides.mskcc.org/CovidImpacts/Home

Panel 9. An anonymous figure behind an oration desk is trying to cover a pile of bones behind them. On the pile of bones is a flag that says: Just keep buying and working! The text reads: You are being led to enact violence on your community members by a government who is sacrificing you on the altar of capital. You should be terrified.

Panel 10. A drawing of Joey’s head from the side. he is wearing a respirator mask. The text reads: There is no neutrality in a mass-death and mass-disabling pandemic. Wear a mask or forever be complicit. The comic is dated February 3, 2024. Image ID ends.

You might not want to hear this but people with anger issues and/or violent impulses need social accommodations. And no by accommodation I don't mean walking on eggshells around them, actual accommodations for people with these issues comes down to giving them a space away from what's triggering them to process their emotions and calm themselves down same as what kind of accommodations people who get sensory overload or just any kind of overwhelmed. There is no moral value to having anger issues or violent impulses, people with them are deserving of accommodation the same as everyone else.