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lcb67 shitpost collection
heathlu i never got around to posting, drawn for my friend's birthday 💗
woah i hate them
My Gripe with Film and Television’s Refusal to Explore Heathcliff’s Racialisation (Not Just in the Latest Adaptation)
Side note: Fanon is one of the greatest minds who ever lived, run and read his stuff (if you haven’t already).
So as a character, Heathcliff can be read productively through Frantz Fanon’s racial-epidermal schema ( even though Wuthering Heights predates Fanon by about a century).
Fanon argues that racialisation operates as a totalising system in which the body becomes the site onto which danger, moral corruption, and othering are projected, particularly within Christian and colonial epistemologies. He first outlines a historical racial schema, in which racialised subjects acquire their sense of self under the white gaze within a white-dominated world. Racist discourses shape not only how racialised bodies are perceived, but how they are lived, rendering racialised existence inseparable from the long histories of slavery, colonialism, and structural exclusion that produce a condition of persistent alienation.
From this, Fanon develops the epidermal racial schema, which describes the specifically embodied experience of self-alienation under racism. Here, the racialised subject is compelled to adopt the white gaze, coming to experience themselves as an object constituted by racist fantasy and fear. By centring the epidermis, Fanon emphasises that racism is not only ideological or discursive, but phenomenological and affective, lived through the body itself. It is within this framework that Heathcliff can be understood: as a figure whose racialisation renders his body the site of moral judgement, theological condemnation, and social exclusion throughout the novel.
From the moment Heathcliff enters the narrative, his body is marked as suspect. His dark features are immediately commented on, foregrounding his racialised appearance as the primary register through which he is read. Indeed, although Brontë is evasive about Heathcliff’s exact origin, his being found in Liverpool does a lot of heavy lifting. At this point, Liverpool, as a major port city, historically deeply enmeshed in Atlantic trade and colonial enterprises. The text does not need to say “slave” or “indentured servitude” explicitly for the implication to resonate. A dark-skinned child abandoned on the streets of a major imperial port is not an abstract orphan, because he is narratively framed by a place that evokes the global economy of extraction, displacement, and exploitation (indeed, the fact of abandonment itself implies prior use). Thus Heathcliff arrives at Wuthering Heights as a remainder, a surplus body discarded once value has been extracted (who is later unfairly cast as a servant once his protector dies).
Then within the Protestant world of the Heights, Heathcliff is racialised not only as foreign but as damned. His darkness is repeatedly associated with hell, the devil, impurity, and animality, reflecting a Protestant cosmology in which whiteness, civility, and salvation are tacitly aligned. In Fanonian terms, his epidermis becomes destiny: he is perceived as already fallen, already corrupted, and therefore deserving of discipline, exclusion, and degradation. Hindley’s violence toward him is socially sanctioned precisely because Heathcliff is not fully legible as a child who can be wronged.
Crucially, Heathcliff internalises this schema, and at one point he expresses a wish that he were light haired and fair skinned like Edgar Linton. This is the colonised subject who comes to desire whiteness as a means of escape from ontological negation. In this moment, Heathcliff understands that within this milieu love, inheritance, and legitimacy are racially gated. Cathy’s assertion that it would “degrade” her to marry him operates on this same axis. While class and wealth are the overt justifications for her consternation, racialisation also factors in, because Heathcliff is not simply a servant; he is unassimilable.
Furthermore, Nelly Dean’s attempt to soften Heathcliff’s origins by suggesting he imagine himself the son of “the emperor of China” or an “Indian queen ” is especially revealing. This fantasy does not challenge racial hierarchy; instead, it uses nobility as a means to launder difference into a degree of acceptability, because racialisation with pedigree or social capital is not quite as intolerable as foreignness by itself. The gesture mirrors colonial logics in which some elite non-white figures are selectively humanised (particularly if they help prop up the system), while the mass of racialised bodies remain abject.
All of this is what makes the repeated failure of adaptations (not just the upcoming one) so telling. The racialised dehumanisation and othering is not subtext or something you must “read between the lines”; Brontë hits us over the head with it, (even having Heathcliff referred to as “it” when he first arrives). Yet adaptations consistently collapse Heathcliff into a romantic archetype: the brooding outsider, the wronged lover, the Byronic anti-hero. In doing so, they strip away the racial logic that gives his rage coherence and flatten his later behaviour, rather than treating it as a disturbing study of how people who are abused can become abusers, and how a dehumanising system detaches everyone within it from their humanity.
That this has happened across countless adaptations suggests not oversight but avoidance. To engage seriously with Heathcliff’s racialisation would require confronting Britain’s imperial history, Protestant moral hierarchies, and the ways in which racial difference has been bound up with ideas of sin, degeneration, and who gets to exist without having their humanity questioned.
And now when Heathcliff is played by the favourite white boy of the month (his violence becomes sexy menace, his obsession becomes passion, and his cruelty becomes angst). It a best neutralises but may utterly remove, the audience’s discomfort that this man has been made monstrous by a system that first dehumanised him and he then maladapted to. Instead he is just a sexy bad boy instead of someone who has been brutalised by a system that is still alive and well in big 2026.
And in an era apparently more capable than ever of grappling with race, power, and historical violence, the continued refusal to explore this dimension leads to hollow adaptations. Indeed, we could argue that we are regressing massively (given the rise of the far right) and we therefore should be pushing nuanced explorations of structural inequality into the zeitgeist.
Caveat: I’m not saying that Bronte was unpacking racialisation in an entirely intentional and measured way (there are for sure orientalist tropes and colonial undertones in the novel) but that Heathcliff is a racialised character and is treated as such throughout the novel, thus should be explored and not completely ignored.
every instance of heathcliff with slit pupils that i could find
unfortunately does not include battle sprites (maybe I'll do that sometime later... given that the battle sprites that I can reliably find are clear enough to see slit pupils)
of course does not include heishou you cliff... that's cheating, considering that Sinclair also shows slit pupils and red eyes in his heishou ID.
context:
there was a theory going around that Heathcliff is probably some sort of fae, and I wondered if Heathcliff being a fae would explain why he has slit pupils. (only bloodfiends and some heishou have slit pupils, and we know for a fact that Heathcliff CAN'T be a bloodfiend as we get to see him "grow up", something that bloodfiends cannot do. and we can also debunk Heathcliff being a heishou because... he's not from Hongyuan.)
full explanation for the fae theory by someone on reddit: (for the record, i did NOT make this comment) https://www.reddit.com/r/limbuscompany/comments/1qnsydy/comment/o1wwu39/
Book Heathcliff is theorized by scholars to be inspired by the Changeling, a kind of fairy who would replace children in their own family. In the game, this is referenced by Erlking Heathcliff and his Wild Hunt. The Erlking is a fairy king who live in the wood (Wildcliff says he lives in the wood surrounding WH), kidnapping and killing children (kidnapping of Catherine, and murders of "juvenile" Heathcliffs). The Wild Hunt is a congregation of fairies who hunts humans and bring ill fortune, associated with tempest, and led by an Erlking. Dullahan, Heathcliff's mount, is inspired by a deadly headless fairy from Irish folklore, who would relentlessly hunt a given target to the end, just like Erlking Heathcliff obsessively hunting himself. The power that Erlking and Wild Hunt Heathcliffs awoke is never properly explained, the later describing as spontaneously awakening it one day. However, it doesn't seem to be an E.G.O, its origins thus completely unknown, and possibly innate to Heathcliff in someway. Finally, Heathcliff's obsessive and vengeful behavior is somewhat similar to the behavior ascribed to fairies in myths.
note: fae are basically fairies. interchangeable depending on context.
the fact that cathy was a nerd and is implied to have liked inventing things is so underutilized in a lot of ways but i also like to think it has interesting implications for heathcliff.
one of my headcanons is that he can follow a conversation about technical stuff, he just needs some background knowledge and words defined and to actually care about what's being talked about in the first place and/or care about the person presenting the information. he has had years of practice from listening to cathy ramble on about whatever pet project she had going on, and even if he didn't get it at the time, he still cared enough to ask questions and make a conversation about it. what is showing your love for someone if not letting them go off on a super niche topic or whatever?
this is like the main reason why i think he gets along so well with hohenheim because that is an intelligent person that doesn't immediately brush heathcliff off as an idiot/lost cause for not understanding something. it's a very important dynamic for the both of them.
thanks for coming to my tedtalk
So.. what a canto huh. /neg
Maestro / Ring Nursefather Hong Lu
I don't know why I spent so much time on this waste of time tbh but whateverrrrr. Alt version in view more to have a better look at the design
Gayass showed a pic of his bf to the barber
this codependency yaoi get crazy
really enjoying hohenheim's canto guys! anyways theres this really cool npc that i think is maybe based on wuthering heights and i ship them together totally !
that new exhibition art huh
has anyone ever pointed out that this seemingly normal CG from C7 has an alt ver ONLY seen in the theatre
the previous CG is the one that shows up in the story both through the main menu and through the theatre directory. This doesn't show up at all except in the theatre, you have to go to the theatre ui in the assets folder to find it in the assets
dude it replaces hugo and makes hong lu like, uncharacteristically pissed off. In spring cultivation dante describes Hong lu when hes mad as just hardcore glaring at people not gritting his teeth like this. WHO THE FUCK IS THIS GUY LMAO
My thoughts on two of the new egos from the trailer. Be nice im😅😅shy
hii! just read your answer to a dif anon about trans man heathcliff, loved it and i even wanted to say i feel like maybe heathcliffs initial agression in the first couple cantos could also be overcompensating. Influenced by toxic masculinity, he wants to fit the idea of a man and that leads him to act closed off, aggressive, like a stereotypical “lone wolf” kinda. and i feel that its after his canto where he becomes noticeably more softer and vulnerable bc hes realized he doesnt have to overcompensate, that he is a man and that cathy has always loved him for who he is rather than the stereotypical ideal man he thought she would prefer
Putting you two together since it works best-
Hi anons! I'll answer second one first: big fan! We were on the topic to begin with because I was thinking about how it's a pity that despite the trans man reading working so well with his story it's still pretty unpopular, probably because he looks like the polar opposite of what the characters that get widely interpreted as transmasc look like (delicate, short, pale... you know how it is). I've been big on the headcanon since pre-Canto 5 times, and as the story went on and we eventually reached Canto 6 his arc developed many of those ideas I'd always thought made a trans interpretation of his character make so much sense. So I guess it's time for it
This is the Trans Man Heathcliff Post™️
I can't believe I never really sat down to write it before. Let's go under the cut.
So... Yuri in episode ten, yeah? I'm sensing a lot of mixed opinions out there, and while I'm not interested in changing anyone's minds, I do feel like adding my own two-cents in as a non-binary fan of both the show and game.
Spoiler Alert: I liked the episode, Yuri included.
I'll admit I felt some conflict at the time that I watched the episode, but in retrospect, I think this was mostly concern about how the show would continue to treat Yuri in the future. And while we don't yet have access to future episodes, I am optimistic that the queer characters' identities will continue to be respected and upheld here-on out. The show has always respected Setsu and Raqio's genders, so I doubt they'd pivot to disrespecting Yuri's gender... which is... what, exactly? Is it non-binary? Are they completely gender neutral? Has Yuri actually ever identified themself, or has it always been other characters that have defined their identity?
(I've rewatched the first episode just to refresh my memory, though I am not going to rewatch every single episode, so if I've missed something, feel free to leave a comment.)
Here's my understanding of Yuri and their gender, and how it compares to Setsu and Raqio. Setsu + Raqio both have their memories intact, and thus, they've had the time and experience of discovering who they are throughout their respective lifetimes. Yuri, being amnesiac, doesn't have that luxury. All they've experienced since waking is the loops. They haven't really had the time, or even the personal urgency, to evaluate their own gender identity.
I think there is this misunderstanding for a few of the fans that I admittedly held myself until episode ten. I think we've all been associating Yuri's gender identity as being similar to, or exactly the same as, Setsu's gender identity. Considering how much Yuri seems to favor Setsu, and how much their identity revolves around the loops, and how they initially awaken inside a body that's impossible to define as male or female in the traditional sense, I think what happened is that Yuri adopted a neutral identity out of convenience. I am not saying that this invalidates their identity; I am certain any cisgender person in their situation wouldn't feel at all comfortable adopting a neutral gender for any reason. What I am saying is that, until episode ten, Yuri hasn't been given any reason to explore or question their own gender. They don't seem to have strong feelings about their gender one way or the other, as showcased in episode ten, where they appear to overcome the initial shock of their new body rather quickly, and are even observed playing around with the concept of being a woman (as seen in their mimicry of SQ).
I'd even tie this back into their ability to adopt the Gnosia identity with ease not too long ago. Similar to that, they've adopted a female identity with that same ease... for the sake of the loops, it appears.
I think that so much of Yuri's identity revolves around the timeloop they're stuck in + the whole Gnosia crisis that's a staple of each loop, and that these events have influenced how they feel about their own gender. Namely, in episode ten, being a woman acts in their favor for the time being, so they go along with it, just like they went along with being Gnosia despite fighting against Gnosia up until the point that they were Gnosia.
I wholly understand why some people are upset by this, but partially, I think some of that upset is due to how relatable Yuri is to the queer portion of the audience, and how they're clearly standing in for the Player when it comes to the game. We all just sort of assumed that their gender was completely neutral, when that may not be the case.
I think Raqio puts it best. I think we've all clung a bit too hard on what we thought Yuri's gender is, and are now more focused on Yuri's gender rather than their character.
I think it's exciting that we could end up with a show with a gender-neutral character of undefined sexual characteristics (Setsu), a canonically AMAB gender-neutral character (Raqio), and, potentially, a character with a more fluid or shifting sense of gender/presentation (Yuri). That's infinitely more representation than the overwhelming majority of media deigns to give us, and it's even more wild how unique they all are in regards to one another.
That being said, I will end up rather frustrated if they choose not to showcase Yuri as male in a future loop, and leave episode ten as a one-off, dropping further explorations of Yuri's gender altogether. But there's currently no reason to believe that the show will do this, so I'm choosing to remain optimistic.
Note: I am also certain some of the upset is in regard to the characters labeling Yuri as a woman seemingly because of their new body. While I'm not 100% certain, I do think it's odd that this mostly came from Setsu... however, since Setsu is looping in reverse, it's entirely reasonable that they already knew that Yuri would be alright with adopting a female identity for that specific loop. Setsu has always allowed Yuri free reign to explore the loops without much intervention, and I think that applies with their gender, too. Meanwhile, Raqio was more than happy to sit down with Yuri and have a full-blown conversation solely about gender. I think this is accurate to both their characters and doesn't reflect how the narrative treats non-binary characters, though I do believe this could've been communicated better. Nonetheless, I don't feel it's necessary to damn an entire character and show just because the concept wasn't explored perfectly, and I am quite interested to see where the show will take Yuri's explorations of gender in future episodes.
Setsu getting themself reassigned to some sort of military position where there's military spouses on the base, too, feat. shenanigans such as:
Everyone notices how goddamned in-sync the two are, and asks again how long they've known each other? Three months.
(After [unknown, hard to estimate span of time] having to judge and intuit how close the other is to them in out of order timelooping, being in the same world-line is like easy mode).
The gang plays Werewolf because Military are apparently trained on the anti-Gnosia procedure (and doing it with a fictionalized version avoids awkward moments like having to say "[so-and-so] is Gnosia")
It's disquieting how good Setsu and Yuri are at both cooperating, but also at really obscure, high level logical deductions - but what's even creepier is how unnaturally good Yuri is at the werewolf role.
I would like to offer the idea that Yuri always walks around looking like a kicked puppy when not with Setsu. And just looks like a puppy when with Setsu. But they seem like a weird cryptid or something to everyone with how they come off only to be able to switch into serious mode or say the most deranged thing they've gained from their time looping.
"what if" the gnosia looked like ingame