Catholic Character Tournament
Rules
No real-life people (No, you can't submit Jesus or the Pope)
Only submit a character once. You can submit as many other characters as you like
Catholic-coded characters are allowed. If your character is not from Earth but they follow a religion that is clearly inspired/based on Catholicism, then it's ok. (ex: Church of Seiros in Fire Emblem Three Houses)
Orthodox Christians in communion with Rome are allowed. (Ex: Copts, Greek Orthodox, etc. Click link to see the list)
Rule Modification: Eastern and Oriental Orthodox Christians(implied or hcs supported by text) are allowed. Click here for details.
If a headcanon can be supported by the text then the character is allowed. (ex: the Familia Madrigal from Encanto). Will accept simple explanations like "Donatello makes a cross"
Former Catholics/Lapse Catholics/non-religious characters are allowed only if being ex-Catholic is important to their characterization or story (themes about religious guilt or trauma).
Characters from religious allegories/texts that were heavily inspired by the creator's catholic faith are allowed (ex: Lord of the Rings and Narnia)
Biblically inspired characters are allowed (ex: Castiel from Supernatural or Aziraphale from Good Omens)
Characters from horror movies are allowed. Demons, however, are not. Unless you want to argue that the Demon is still Catholic, then be my guest.
Propaganda is allowed and encouraged. No holy wars tho, we gotta learn from our mistakes.
Inspired by @indigenous-character-tournament @plural-swag-competition @latine-showdown @italian-tournament @cringefailloser-tournament @mad-scientist-showdown @sun-n-moon-showdown @best-fictional-cat @bestfictionaldivorce @underrated-adversaries and others!!
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Okay since this has suddenly blown up over the last 3 days, I want to make a post discussing what I meant by it. Because I have shit to say.
Fiction doesn’t affect reality, but fiction can affect people. For better or for worse.
You might read a book and some random line might inspire you enough to want to live by it.
You might play a video game and come away questioning about something you’ve never really thought about before.
(also, just to get this out of the way)
And in regards to the original post— yes, there have been cases in which groups advocating for change have been taken advantage of by bad people. To ignore that would be to ignore history.
But the thing is, that is a real life example. Real people, places, organizations and concepts are and will always be impossible to convey in fictional media because those things are always changing. They are never just black and white, never.
Meanwhile, fiction is different. Whether it’s a book, game, movie, tv show— even the most complex of media will never truly be as “complex” as reality.
Because fiction is written. Scripted, animated. Filmed. Programmed, sculpted, published.
Reality isn’t any of those things. What a person feels, does, says, thinks, isn’t written down, isn’t predestined by some script or line of code— the closest way I can describe it is that it’s dictated by 1,000 hands doing a coin flip at the same time with a 3-sided penny that immediately falls into a hole before a winner can be discerned.
Anyways. I’m off topic.
What I’m trying to get at is that no fictional character has the agency that a real person has. We cannot interview a fictional character and get an idea of how their thought process works, or hell what they had for breakfast or something. No.
Because the extent to which a fictional character, setting, etc. exists— is between the time the opening title fades out and the credits fade in. The time between you clicking new game & when you’ve reached the true ending. When you open page 1 and end page 200.
But like I said. Fiction can have an effect on real people’s minds, for better… or for worse.
You are a viewer who might not know any better. You might not be well informed on history, and may easily have your mind shaped by whatever you consume.
You turn on a show, plug into a game, open a book, grab your popcorn and watch a movie. And in this media, there’s a character, or maybe multiple characters— and their cause is laid out, plain and simple.
Maybe they’re apart of some oppressed group, fictional or nonfictional, who wants change in society. Who wants their oppressors to just stop oppressing them, and has been pushed to the extent in which the only way their voices can be heard is through violence.
Most likely they are already “antagonists” of the narrative, but that their goals are treated as being… “understandable”… by either that narrative, or the main cast.
At least, to the extent that these protagonists can still gleefully beat the shit out of them without anyone batting an eye.
And you continue watching, playing, reading, etc. And most likely at this point, the narrative has begun to portray these particular antagonists in a different light.
Perhaps they’ve begun upholding the goals they said they had less and less. They’re becoming more violent just for the sake of it.
And also at this point it is likely that the narrative is… silently… treating this character’s/group’s initial goals with less and less favorability. Key word, silently.
“Oh, this character is fighting back against oppressors… but now they’re killing people? How evil, surely pushback against oppressive groups can never be achieved.”
“Oh, this fictional group/organization wants to fix their society? Their society which has displaced them without care? …Oh, but they’re bombing buildings now, surely we could never take their displacement seriously.”
And eventually as you near the end of this narrative, the slippery slope has been slipped upon.
In an instant, the character(s) whose goals were at least given a shred of sympathy at the beginning of this story
suddenly end up killing thousands of people.
Or maybe, they suddenly turn out to be apart of the very group they’re trying to combat against.
Or maybe, they’re a Holocaust survivor.
Another thing you might see the narrative start to do at this point is suddenly reveal the backstory of this character/organization— and most likely, it’s something sad, upsetting, angering.
But it rings hollow, it’s meant to ring hollow. Because when you give a character(s) you’ve already assigned the hatesink role to, that backstory will be disregarded in the instant if never explored upon. And in most instances… it’s not explored upon. It’s shock value.
And while this might not be the case for the character above, as my knowledge of X-Men is fairly limited… I can say that this is the case for another character:
This character was branded.
This character who, in universe, is apart of a fictitious minority group, is revealed to have been branded and enslaved by a company run by his oppressors, with outside material implying this was possibly done while he was a minor.
Good thing this was revealed after he turned out to be a genocidal terrorist & abuser! Who cares that he was branded? I bet whoever did it just really “let him have it.” (Writer’s own words!)
Please don’t look up the fact that Adam is a Hebrew name! Please also don’t realize that the initials he was branded with & the company he was enslaved by had a German name!
And most likely at this point, the character(s) have two routes to go down.
They die graphically. Maybe not in a big bloody gorebath, but they’re not given the same amount of liberty in death that other villains in this media might get. Bonus points if it’s on-screen. However, you’ll have the main character “mourning the loss” of them, or rather, what they could’ve been, if only they’d not gone so far!
2. Or just take what I said in 1 but without the last sentence.
And then, credits roll. You’ve reached the true ending. Page 200. Final episode. Whatever.
And if you’re the viewer I mentioned at the beginning of all of this, who might not know any better—
who takes what they see in fiction and applies it to the world around them…
You’ll think. “Are people/groups like that in the real world this dangerous, too?”
(especially if it’s used in media meant for children.)
But anyways.
It’s propaganda dipped in flashing lights or likable characters. It’s propaganda that’s hidden under cool set pieces, beautiful cinematography, “good writing.”
I wanna reiterate what I said earlier in this post.
“What I’m trying to get at is that no fictional character has the agency that a real person has. We cannot interview a fictional character and get an idea of how their thought process works, or hell what they had for breakfast or something. No. Because the extent to which a fictional character, setting, etc. exists— is between the time the opening title fades out and the credits fade in. The time between you clicking new game & when you’ve reached the true ending. When you open page 1 and end page 200.”
When a character advocating for justice or freedom or something noble and good, suddenly ends up murdering babies or bombing hospitals, they loose the “advocating for justice or freedom” part. They’ve shifted from one part of their written arc to the next.
We only see what the narrative allows us to. So when the narrative only allows us to see these character(s) do horrific things, we subconsciously interpret that these things were their main goals all along.
And most often, this kind of narrative will prove you right on that front. Sadly.
And again. If you’re “that viewer”— you’ll apply that logic to the world around you. You’ll grow into that logic.
You’ll see news reporters regard people protesting a genocide as “needing to be put in insane asylums” and nod your head. You’ll see podcasters tout a group fighting against police brutality and racism as terrorists and agree with them.
Maybe I’m being exaggerative. It’s 12 am here. But what I’m really trying to emphasize here is that this trope is propaganda.
Yes, there are real world examples of bad people taking over good organizations. But when you present a scenario like that in fiction, you subtract the nuances and complexities that real life has.
And it becomes propaganda. Propaganda that no one is immune to, and anyone can be susceptible to.
It’s propaganda when Bioshock’s Daisy Fitzroy, a black revolutionary & former slave who wanted freedom for her people, has her goals invalidated time & time again and is portrayed as just as evil as the system itself.
It’s propaganda when The Legend of Korra’s Zaheer, who wanted to destroy the authority figures of the world so that all people could be free, ends up torturing the main protagonist on screen.
It’s propaganda when Star Wars’ Barriss Offee, who wanted the Jedi to return to being peacekeepers, not warmongers, and then bombing their temple. (Didn’t help that she’s heavily Muslim coded.)
It’s propaganda when Game of Throne’s Daenerys Targaryen goes from being a victim of abuse who wanted to liberate the oppressed and destroy their oppressors, to becoming a murderer of thousands because “she was mean to some slavers.”
It’s propaganda when RWBY’s White Fang, a group made up of members of an in-universe minority race, are never once given a shred of sympathy, becoming nothing more than evil terrorists wanting to take over the world, and are even blamed as “the cause of their own racism.”
It’s propaganda when Marvel’s Erik Killmonger wants to continue what his father wanted and empower black people around the world to fight against their oppression, “overthrow their oppressors”, but then just… actually wants to conquer the entire world.
And it’s propaganda when Magneto, a Jewish man, a survivor of the holocaust… is written to be an advocate for genocide.
TL;DR:
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