If the villain/morally ambiguous character starts straight-out describing their euphoric emotions when they saw the good character massacre others, expect the good character to be very disturbed and/or confused. This can lead to the villain becoming a Stalker with a Crush. It may lead to lots of Foe Yay Shipping or No Yay. This is how Grell becomes infatuated with Madam Red, though the latter is actually more of a Tragic Villain. Grell also fell for Sebastian because he is a sadistic demon. Claude claims to have affection for Ciel and Alois because of the unstable jaded nature to their souls and their ability to carry out violence.Hannah sticks with Alois despite his mistreatment of her and proclaims she loves Alois for his unpredictable instability and passionate nature.While the other two Trancy triplets claim they don't like it, Timber states that he could "be willing to" love Alois for how heated, passionate, and violent he can be.Gintama: Kamui got excited watching Gintoki fight Hosen and later declared Gintoki is his (prey) and that he won't allow anyone else to touch him.Main antagonist Gauron of Full Metal Panic! seems to have a creepy attachment of this sort to the protagonist, Sousuke Sagara, who he first met as a child-soldier in some war-torn Middle Eastern country and saw something in that child's eyes - an ice-blue will to kill, without sin or care.Gauron is definitely the most extreme example in the series (getting aroused enough to have lamented about wanting to rape Sousuke after seeing the aftermath of all the people Sousuke calmly massacred).Gauron spends much of the first season and the third one trying to 'reawaken' Sousuke's soldier spirit because he found it, in his own words, 'beautiful'. But Kurama, Gauron's partner in Amalgam, is shown to have started getting this way towards Sousuke as well. Although he initially shows annoyance and skepticism at Gauron's obsession and worship of Sousuke, when Kurama himself comes into confrontation with Sousuke, he starts to admire Sousuke more and more.
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