Submission serves as the primary engine for character development in these two narratives, though it manifests in opposing directions. A direct YPS comparison fails here because Beatrice operates via arcane authority at YPS-3 while Darkness functions as a YPS-2 physical tank; their abilities exist on entirely different axes of interaction. Instead, the point of interest lies in how each character uses self-denial to cope with their social roles. Beatrice’s existence is a study in stagnant submission. For centuries, she remained a prisoner of the Forbidden Library, tethered to the hope of a return that never came. Her high Growth score reflects the violent psychological rupture required to stop being a tool for "That Person" and start being a partner for Subaru. In contrast, Darkness transforms submission into a perverse form of agency. Her masochism is not a lack of will, but a redirection of it; she finds a way to enjoy the failure of her own primary function—her inability to land a hit. While Beatrice fights to escape her designated role, Darkness leans into hers to find personal gratification. This reveals a fundamental divide in how the genre handles the "specialized" character. Beatrice represents the tragedy of the sentient weapon seeking a soul, while Darkness represents the comedy of the noble knight seeking a thrill. Beatrice’s journey is a hard-won victory over a predetermined fate, making her narrative weight far heavier than the static, gag-driven existence of a Crusader who simply wants to be stepped on.