Evil Character: *exists*
Fanon Lore:
Canon Lore:
seen from Italy

seen from Canada
seen from Argentina
seen from Yemen
seen from Australia
seen from Sweden
seen from Austria
seen from United States
seen from Germany

seen from Japan
seen from New Zealand
seen from United States
seen from China

seen from Austria
seen from China

seen from Canada

seen from Brazil

seen from United States

seen from United States
seen from Italy
Evil Character: *exists*
Fanon Lore:
Canon Lore:

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merlin does not possess moral integrity, and the insistence on reading him as an uncomplicatedly “good” character requires a selective engagement with the text that the narrative itself does not support. what he has, instead, is an increasingly rigid teleology: a belief that arthur’s survival and ascension justify almost any action.
when confronted with multiple opportunities to allow uther to die—or to actively facilitate that outcome—merlin consistently intervenes to preserve him. this cannot be dismissed as mere aversion to killing. merlin does not simply refrain; he acts, repeatedly, to save a man engaged in the systematic persecution and execution of magic users. notably, the prophetic framework does not clearly prohibit uther’s early death. on the contrary, figures such as Kilgarrah explicitly advocate for it. merlin’s refusal, therefore, is not obedience to destiny but a choice to maintain a political order that is actively harmful to his own people.
the prophecy itself is articulated as a shared destiny: arthur and merlin, together, are meant to restore magic to albion. yet merlin systematically reconfigures this partnership into a unilateral arc in which arthur appears as the sole agent of restoration. this is not simply the byproduct of fear, though fear is certainly operative. it is also an exercise in control. by withholding his identity and suppressing his role, merlin ensures that the burden of revelation—and the attendant risks—never materialize. in doing so, he fundamentally alters the structure of the prophecy, converting a reciprocal relationship into a hierarchical one in which he operates invisibly, orchestrating outcomes without accountability.
his treatment of other magic users further complicates any claim to moral consistency. merlin does not merely defend camelot against clear antagonists; he adopts a preemptive logic in which potential or hypothetical threats to arthur justify intervention. this frequently manifests as sabotage, manipulation, or lethal force directed at individuals whose primary “crime” is existing outside the narrow parameters merlin deems safe. the ethical framework here is stark: the value of a life is contingent upon its relationship to arthur’s well-being. in effect, merlin reproduces the exclusionary logic of uther’s regime, albeit in a more selective and individualized form.
this logic extends into the curation of arthur’s public and private identity. merlin repeatedly interferes in contests, conflicts, and political situations to secure favorable outcomes for arthur, thereby constructing the image of an infallible and divinely favored king. these interventions are not neutral acts of assistance; they shape the narrative through which arthur is perceived, both by others and by himself. consequently, arthur’s legitimacy becomes, in part, an artifact of merlin’s unseen labor. merlin is not merely supporting the future king; he is actively producing the conditions under which that kingship appears natural and deserved.
deception is central to this process. merlin’s secrecy exceeds what is necessary for survival and becomes structural, governing his relationships with virtually every significant figure in his life. by monopolizing knowledge of the prophecy, of magic, and of the true stakes of various conflicts, he positions himself as the sole arbiter of action. others are denied the capacity to make informed decisions, including arthur, whose ignorance is both protected and enforced. this asymmetry of knowledge consolidates merlin’s power, even as it isolates him, and ensures that alternative courses of action are never meaningfully considered.
over time, there is a discernible shift in merlin’s ethical sensibility. early hesitation gives way to increasing decisiveness; moral conflict is not resolved so much as it is bypassed. actions that once required justification become routine. this is not character development in the sense of moral growth, but rather a narrowing of perspective. the horizon of acceptable action contracts until it aligns almost perfectly with arthur’s preservation. the question is no longer whether something is right, but whether it is necessary.
in tandem with this, merlin effectively limits arthur’s agency by controlling the information available to him. the possibility that arthur, if fully informed, might make different or more just decisions is consistently foreclosed. merlin’s silence is not passive; it is an active constraint on arthur’s moral and political development. by denying him the truth, merlin ensures compliance with a future that arthur himself has not freely chosen, thereby undermining the very ideal of a just and enlightened ruler.
finally, it is significant that merlin’s actions rarely coalesce into a broader effort to challenge systemic injustice. despite his power and proximity to the throne, he does not organize, advocate, or build alliances on behalf of magic users as a collective. his interventions remain episodic and selective, oriented toward immediate threats rather than structural change. the liberation of magic is deferred to a future moment that never fully arrives, perpetually subordinated to the more urgent task of safeguarding arthur.
what emerges, then, is not a figure lacking in feeling or conviction, but one whose convictions have been entirely subsumed by a single objective. merlin’s tragedy lies not in moral failure alone, but in the extent to which that failure is rationalized, systematized, and sustained. he does not abandon ethics; he replaces them with a calculus in which the ends are fixed and the means are infinitely adjustable.
My problematic fav and her sweet golden retriever sister. Was going to include Babs, but why would a man be there? (Rip Babs). They were the only people in the first house serving cunt. Icons, truly.
another isidor post .... this is the first time i've gotten THIS hyperfixated on my own character - i've never been THIS alone in stanning a blorbo - AGH .. god forgive me
Just a guy and his dog :3 (he makes me so insane-)

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“I could fix him”; “I could make him worse!” Why??????? Why all this DIY???? I just wanna stand over his shoulder and see what he can possibly fuck up next
Wenduag from Pathfinder: WOTR is the character of all time. She is a freak who crawls around in a cave and eats flies and worms. She is a submissive and is into every kink you can imagine and is ALWAYS horny. The writers have her tie this directly to her trauma and the fact she is evil. She is a SA survivor. She is the only character in the game to identify that the commonly used word to describe her species by other races is a racist slur. The game continues to refer to her and the rest of her species using that slur in quest text, her character sheet, and even dialogue from the main character. She kills racist people on sight but claims she did it because she just loves killing people, because in her mind acknowledging that racism against her hurts her feelings is too much of a show of vulnerability and she would actually RATHER you think of her as a mindless rampant killer than a person with feelings. She comes from a moneyless society and genuinely thinks you can just walk into stores and steal shit. Her signature weapon is a bow fashioned from the spine of the demon who once enslaved her people. She is one of only two WLW romance options in the game and she will only take you if you agree to let her sexily infect you with a drug that gives you the same maniacal bloodlust that she has. She is evil and pathetic and she's my favourite character in the game and possibly of all time. She deserves more love and attention because the evil woman lovers of tumblr should be going insane over all this. She's like Catra and Harrowhark and Vriska had a child that's a deformed cat/spider/person abomination who gets turned on when you call her your "silly little cat".
The scream that i screamt when i realized these quotes fit s3 randfear