#Audience Expectations

[thetinygnome]

To preface, this is post is inspired by my experience watching arcane s2. I both enjoyed and disliked a lot about it, but this is not intended to be an analysis or review and will only contain the absolute vaugest of spoilers.

'That was not the story I wanted it to be' and 'That was not the story i thought it was going to be' are fair but subjective statements, and at the end of the day the story wasn't made with the goal of pleasing my specific tastes.

I generally agree with this sentiment, but something about it bugs me. Surely these expectations don't exist in a vaccum. They come from the primordial soup of me, the media in question, and everything I've ever heard about said media in question. Half the art of storytelling is manipulating, guiding, and playing with what your audience expects. So while the problem may well lie in my own tastes and biases, it could also just be a symptom of genuine lacking in or around the story.

I tried making some checklists to identify what was bugging me about it. (Bit of a longass ramble incoming)

Things outside the text itself that may have affected my expectations of the story:

If this work is in direct conversation with other media eg adaptations, continuations, sequels, prequels, same cinematic universe etc. Especially if I am very familiar with said media. Does it state its relationship to these media properties accurately?

The way the story marketed itself. Are the trailers and blurbs accurate to the tone, themes and genre of the show itself? Does it feel like its striving to be high art or something to watch over dinner?

Related to this is fandom and internet reputation of the story. Are the topics of conversation pushed to the forefront online reflective of their prominence in the story itself?

Do I have a bias regarding the persons or companies creating or distributing this work?

Do I have or lack life experiences that would make the story ressonate more / am I the target audience?

How familiar am I with the tropes and conventions of the relevant medium and genre?

Did I miss key details of storytelling due to outside factors (talking, noise, distraction, zoning out etc)

Things within the text that may have affected expectations:

Foreshadowing. Were things seemingly forshadowed only to not be followed up on? Did huge changes come seemingly out of nowhere? Is it artfully subtle or underwritten?

Exposition. Are they actually telling me (explicitly or otherwise) what I need to know in order to understand what is going on?

Consistency. Particularly with character writing. Are motivations, relationships, personality, morals etc established firmly? If so, than are changes and challenges to these given the time and reasoning required to be convincing?

Pacing. Were we given enough time to take stuff in before moving on? Was a lot of time spent on details and plotlines that ultimately ended up irrelevant while key parts of settup where restricted to a single blink-and-youll-miss-it moment? Do I find myself going "well I mean I don't exactly dissagree that we could end up here but I feel we missed a few steps along the way"?

Themes and genre. Does it follow through with and/or intentionally subvert tropes of the stories it is similar to? Does it have multiple themes and are they of equal importance? Do the pacing and foreshadowing correspondingly reflect that?

Clarity. Related to many of the above, but how many plates are spinning at once, and how many of them are we supossed to care about? On a less abstract level, can I see/hear/read what I need to in order to understand what is going on. In film ig it would be camera angles/lighting/blocking/sound design etc. Definitely elements of skill issue here but worth noting.

Im sure theres many more but

Sigh

Ig I gotta rewatch arcane to see how much of it was a skill issue on my end. Maybe this is the death of media literacy and my brainrotted ass needing to be spoonfed. Or maybe it was actually rushed, dropped key plotlines from the first season, and fastfowarded through character arcs at light speed.

[frumfrumfroo]

It's clear that audiences will go to great lengths to find something admirable or attractive in characters that are designed to be monstrous. Is this because humans are desperate to see goodness in even the darkest of hearts? Or is it because humans are just inherently drawn to and fascinated by evil? The contempt many people have for idealistic characters like Superman leads me to believe it's the latter.

People also go to impossible, wilfully blind, Plastic Man-like lengths to avoid seeing complexity and vulnerability in characters who were designed to be sympathetic despite being antagonists or having done bad things.

And it's for the exact same reason that they dismiss or feel the need to make the 'dark, gritty' version of characters like Superman: cynicism. Often childish cynicism which refuses to comprehend that the entire point of Superman is that he's a paragon and what makes him interesting is using him to hold a mirror up to the society whose supposed ideals he was created to represent. That an actual challenging narrative isn't cutting Superman down into yet another pragmatic, 'realistic' hero, but pitting a genuinely aspirational figure against morally difficult circumstances which we recognise.

The same childish cynicism which thinks any human person is simply born evil and unable to change or heal, that's there's some point of no return after which growth is impossible, or that there's anything anyone can do to render themselves no longer human and thus undeserving of ethical treatment by others.

The same childish cynicism which sees compassion or even simply a desire to understand and dismisses it as 'fascination with evil', or, as is usually the actual attack even if not explicitly stated, of 'having the hots for the bad boy'. Looking for a character's motivation and expecting that they have one beyond 'muahahaha evilly evilly evil!' is just the most basic level of engaging with the text.

[vulpinesaint]

quiz enjoyers! i am now inviting you to come create something in my workshop❕

[noescape-vg]

For Dogma Sickos Only: What’s up with the Pathfinder, huh?

There are multiple endings to Dragon’s Dogma II. Some of them end the game in sadness, others set the stage for another trip around the loop of a hardly-any-different New Game+, and others seem like the kind of elaborate joke you’d expect from a dev team that made Dragonsplague so scary. These endings almost universally left me with a feeling of fidgety dissatisfaction, like I was missing a key…

[kaile-hultner]

For Dogma Sickos Only: What’s up with the Pathfinder, huh?

There are multiple endings to Dragon’s Dogma II. Some of them end the game in sadness, others set the stage for another trip around the loop of a hardly-any-different New Game+, and others seem like the kind of elaborate joke you’d expect from a dev team that made Dragonsplague so scary. These endings almost universally left me with a feeling of fidgety dissatisfaction, like I was missing a key…

[possamble]

hiii everybody are you normal about Falin showing Laios the same little spell that Marcille showed her? are you normal about Falin remembering it fondly enough that it was one of the first things she showed her brother while trying to teach him magic?

[hauntoblogical]

I have seen three different "how much of this site is queer" polls this evening poking fun at staff's 1/4 assertion and not a single indication any of them understand statistics. One someone even replied "This might have some sampling bias" what do you mean might what do you mean SOME

[kstarvibes]

"The Little Mermaid" in South Korea: A Dive into the Controversy

The live-action version of The Little Mermaid recently opened in South Korea to critical acclaim. The recent release of Rob Marshall’s The Little Mermaid in South Korea has been met with skepticism and a less than stellar box office performance. This article aims to explore the reasons behind this reception and the controversies surrounding the film. The Little Mermaid’s Box Office…

[pretend-theres-a-name-here]

Little thing I wrote while procrastinating writing part 5 of Hide Your Heart.

~~~~~~~~~~~

Steve Harrington who knows his kid brother is obsessed with some niche, up and coming metal band. Steve Harrington who groans and grumbles and carries on about having to drive him around to shows and listen to him nerding out but does it anyway. Steve Harrington who doesn’t really pay attention because the lights on the stage are too bright and drown out whoever’s playing. Steve Harrington who is currently wading through a crowd making their way to the door, going against the current and stumbling as he searches for the mop of hair he promised to get home.

“Henderson!” He cups his hands around his mouth, “Where is that kid?” 

He finds himself pushed to the outskirts of the mass of bodies, plastered to a wall but he still pitches forward when a particularly rowdy young woman rams into him. He thinks he’s going to go all the way to the floor when a hand snags his elbow, holding him up. He turns to rush out an apology, a few thanks for the save, but stops before he can get the words out because holy shit the guy is gorgeous.

And Steve—well Steve has been doing some thinking about himself. About how most guys don’t have to mentally prepare themselves to go into the locker room after pe class. About how most guys don’t let their friends paint their nails pretty colors. Robin told him that there was this thing called being bisexual and he thought some things were clicking into place. So he’s gotten used to going out and noticing more than just girls, it’s not uncommon, but this guy is hot, like really hot. 

He’s dressed in leather pants and a cut off tank top that hangs around his sides. Tattoos, more doodles than actual designs, on full display for the world to see, running up his arms and peeking out from his ribs. His hair is in curly tangles, sweat sticking it to his forehead but he’s grinning. He has a jacket, leather, in his other hand. 

He’s also still holding on to Steve’s arm. Warm rings press into the inside of his elbow as he rights himself.

“First time?” The man asks.

“Y-yeah.” Steve gets out, “I’m supposed to be here with my brother, he’s a huge fan of some band playing here. Molded Coffin or something.”

The guy’s face breaks out into a full on smile, humor sparking in his eyes but Steve doesn’t know if what he said was that funny.

“Yeah? Where’s he at?” The guy still hasn’t let go, leading Steve away from the crowd and further into the room where there were less people.

“I’m actually looking for him now. Left him alone for five minutes to get a drink and he disappears.”

“You need help? These things can get a little crazy.” The man offers.

“You do this a lot?” Steve asks, immediately mentally face palming. He practically asked the guy if he came here often, he was going to think he was flirting. Was he?

The man just smiled, “You could say that. Eddie.” He finally released Steve’s arm in favor of holding out his hand. They shook hands and Steve told the man—Eddie—his name.

They talked for a while, Eddie got them drinks and Steve told himself that Dustin was old enough to behave himself for 15 minutes. Eddie kept an arm around his shoulders the whole time, shielding him from the chaos of the dwindling crowd was his excuse. Steve would have told him he didn’t need an excuse if that didn’t seem too forward.

 Eddie was just asking for his number when someone behind them called, “Ed! Quite flirting and get your ass over here! You’re helping us tear down this time!”

Eddie sighed, “Duty calls.” He scribbled something on to a napkin, patting it against Steve’s chest and backing away, “I’ll be waiting for yours, sweetheart.”

And Steve was either drunk or insane because he actually laughed at that. Laughed again when he looked at the napkin and saw numbers almost unreadable, a winking face below them.

“Steve! There you are! I’ve been looking all over for you—What’s that?” Dustin’s tone went from annoyed to prying as soon as he saw the napkin.

“None of your business.” He stuffed the napkin in his pocket, “Are you ready to go or what, kid, I’ve been waiting forever.” He poked Dustin’s shoulder until he got moving and then he poked it again when Dustin scowled at him.

In the car he was once again subjected to Dustin’s after show rant about how cool it was. The guitarist apparently broke two strings and flipped the crowd off with his bloody fingers—which they went wild for, which Dustin screeched along with them for. They played a new song, but it all sounded the same to Steve. That was as much as he heard, though, his mind kept wandering back to the man after the show. To the number in his pocket. He debated putting it to use, was the next day too soon? How long was too long until Eddie forgot about him? A guy like that probably had a mountain of napkins with numbers thrown at him every day. He decided to get over himself and call late the next day. 

“Hi, this is Steve.” He suddenly felt very silly for calling but it was too late now.

“Steve, pretty boy from the show last night Steve?” And just like that he forgot why he hesitated to call.

“That would be me.” He cringed, “No, wait, that sounds so self centered.”

“Not self centered if it’s a compliment.” Eddie argued.

“If you say so.”

They talked, got 10 whole minutes of random conversations Steve never wanted to end before Eddie cursed.

“I’m sorry, I promised my uncle I’d help at the shop.” He muttered, “I’m gonna be late.”

“That’s fine, you should go help him.”

“I’ll call you later?” Eddie asked, and if Steve didn’t know any better he’d say it sounded hopeful.

“I’ll be here later.” He responded. 

They called all the time after that, whenever they were both free. They even met up in person, it was just to the park because Eddie found out Steve had never fed ducks before, but it ended with another day scheduled to spend together and then another and then a month had passed and he could say they were officially dating. It was the best time Steve had had in a long time and he really didn’t want it to end. The realization came to him one night, after another day with Eddie, and it wasn’t as shocking as he thought it would be. It was a Friday night, Eddie was busy most Saturdays—something about going to shows with the guys—so a lot of their slow nights were Fridays. They were watching TV on the couch in Eddie’s trailer, which was quickly becoming Steve’s favorite place, when he found himself watching the way Eddie laughed and even jumped at whatever horror movie was on more than he was watching the movie itself. 

“I love you.” He whispered. 

Eddie’s head whipped around, eyes wide, movie forgotten, “I love you too!” And then Steve couldn’t be blamed for not watching the movie anymore when he was practically tackled to the couch, laughing the whole way down.

It was a month after that night that he was steeling himself outside of his front door.

“It’ll be fine.” He said to himself, “They’re going to love you.” He said to Eddie who was gripping his hand.

“It’ll be fine.” Eddie agreed and he almost sounded convinced.

Today was the one day that everyone could gather at Steve’s. The whole party had shown up, everyone he had folded into his makeshift family was in his living room waiting for him to get back with the new partner he told them he was introducing. Today was the day they decided to tell people about them.

Steve pushed the door open, taking a deep breath before leading Eddie to the living room. All of his friends sat scattered around the room. On the couch and floor and coffee table. He could do this.

“Uh. Hey.” He cleared his throat, “I’m back.” All eyes snapped to him, eager to know who this mystery person was.

Eddie tried for an awkward wave but their hands were still connected so they just shook between them.

The silence was getting unbearable until finally Robin shot up from the floor and tackled him in a hug, subsequently dragging Eddie along into it.

“I’m so happy for you, dingus.” She laughed as she pulled away, “Robin.” She stuck her hand out to Eddie who visibly relaxed, “Best friend, platonic soulmate, hurt him and I swear to god you’ll wake up with no kneecaps.”

“Eddie.” Eddie squeaked, shaking her hand hastily.

“Bobbin.” Steve only called her that when she was being particularly over the top because it annoyed her to no end and she knew this, “Tone it down, would you?”

The rest of the group chorused their hellos and introductions and a weight lifted off of Steve’s shoulders at the sight of all of his friends accepting the news without comment. Until he realized there was only one person who hadn’t spoken a word, standing in the middle of the room with a strange look on his face.

“Dustin?” Steve prompted, voice strained.

“Oh my God.” Dustin mumbles in disbelief.

“Dustin…” Steve shot him a warning glance, “If you’ve got a problem with it—”

But Dustin ignores him, he’s staring at Eddie in shock, “Oh my God!” He practically shouts, coming to life to jump and screech, “That’s—! You’re—! You’re Eddie Munson!” 

Eddie grins, seemingly unfazed by this bizarre reaction to meeting your brother’s boyfriend, “I take it you’re a fan?”

“A fan of what?” Steve asks, pulling his hand out of Eddie’s to turn to him face to face.

At the same time, Dustin starts babbling hysterically, “A fan? Only the biggest CC fan in all of Hawkins! I have every song on vinyl, like three posters and—oh my god this is so embarrassing. Eddie Munson is in my house and I’m telling him I have his face on my wall.” 

He keeps talking but it’s more to himself than anyone else in the room so Steve raises an eyebrow at Eddie, “What’s he talking about? Why are you on posters and why does he have them?”

Eddie, for the first time since Steve has known him, looks almost sheepish, “Oh…I guess I’m kind of, maybe the frontman of Corroded Coffin.” He might be blushing.

“You’re that nerd Dustin’s always going on about?!” Steve exclaims.

[poorly-drawn-mdzs]

Started a new book series, and has been a journey...an Odyssey, if you will.

[adamsvanrhijn]

Brianne Tju as SHAY & Joey King as TALLY Uglies (2024)

[stil-lindigo]

a non-comprehensive guide to my favourite characters in claymore, the best manga you've never read (more under the cut)

don't know what I'm talking about? here's a crashcourse.

[juiche]

I recently went to the Romeo and Juliet play starring Tom Holland … there was a lot of crying :') This scene struck me especially and felt like a slap across the face, so I wanted to try and capture it! 🥹

get a print

[blackkatdraws2]

This little NPC is lost. The Narrator [Black] has come to guide her back to where she needs to be. [Blank Scripts AU]

I imagine Black would be a lot more tolerant toward his NPCs since they're basically just the Dungeons spawns, and by extension, his own creations.

[If you're familiar with manhwas / manhuas that features the dungeon / system genre, you'd be able to understand this AU a lot easier. The majority of my inspiration for worldbuilding came from those specific genres.]

[NOTE: 'Dungeon' is just another term for the Parable. Technically, Black owns a Dungeon and the Parable is just a small part of it. The Dungeon itself is much, much larger.]

For context, the comic below references this post about the Dungeon's children/guard dogs.

[They're more like the immune system since all they do is make sure the (body) is safe.]

[The reason the Narrator [Black] considers them his children is that the Dungeon is feeding off his energy and in turn shares the 'nutrients' to the monsters it produces, which transforms them into an image that resembles his power.]

And the old man below is Joseph!

Joseph is NOT AN NPC! He is a person who exists outside of the Dungeon!

[There are two separate 'worlds' for this AU. Inside the Dungeon (where most of the game-like stuff is happening) and the world outside (pretty much their normal world.)]

[There is a secret third world, and that's our world. Our reality.]

These characters are not actually important or anything, I just made them to make the AU feel more lively. To make a world that exists, you know?

When the Narrator [Black] first established himself in their world, he found a growing problem with homelessness. Not understanding human norms or why this has become a problem in the first place, he offers (tricks) them into working for him as janitors for the Dungeon and they accept for the money.

Most of them left after they got paid, but Joseph was one of the people who stayed. He doesn't have anywhere else to go and has no ambitions in life. He just wishes to live a peaceful life with food and a roof over his head.

Joseph defaults to referring to the Narrator [Black] with feminine terms due to his appearance despite his voice. The Narrator [Black] is not the type to care for such terms anyway so he doesn't care how other people refer to him as long as there's respect.

--------------

This post focuses more on the worldbuilding and background aspects of the AU! There are a lot more in store for the Blank Scripts AU, and I want to explore more on how the characters might interact with their surroundings and how this would work to make a world that makes sense.

It would be so cool if people made self-inserts or OCs for my AU actually. I'd love to see how you guys would work with my stuff. Play around with it like a barbie world for your little barbie dolls. Be canon compliant, be canon divergent, who cares, have fun.

[miraculouslbcnreactions]

Keep hearing people say maribug keep asking adricat if he's ok and he keep saying he's ok instead of telling her his problem but I don't remember it happened more than once in s4 in Rockettear but even then the circumstances of that episode did warrant the "nothing" answer he gave her unless he want to tell her that "nino tell me you let nino and alya know each other identity" which will reveal adricat identity. So when else did she ask? about the thing in hack-san, I think another credit goes to alya since she's the one who bring the topic to maribug who seems to be blissfully unaware that her leaving without telling adeicat that she send subtitute would be a problem.

I didn't get into this side of things in my other post because it was long and I wanted to focus on why Chat Noir's behavior was so frustrating, but this ask brings up the other big reason why the season four conflict was such a frustrating and terribly written plot line. Specifically, the part of your ask where you point out that Maribug seems blissfully unaware that her actions are having a negative impact on Chat Noir until someone points it out to her.

Yes, she is presented as blissfully unaware of this and every other interpersonal conflict we're given in season four. Your ask treats this as a failing on Maribug's part as if she should have obviously realized that she was in the wrong, but that's the whole problem. Telling kids - telling anyone really - that they should just magically know what others need is a frankly terrible life lesson as that's just not how the world works. You cannot just assume that everyone will have the same view of the world as you do and instantly pick up on the same issues as you do. That is the path to easily avoidable frustration and conflict. It also teaches people to assume that their view of the world is inherently correct when that is rarely the case. We often don't know the whole story and the other person's point of view may end up being equally or even more valid. This issue is extremely present in season four as Marinette has legitimate reasons to behave the way she does, which I'll get into in a bit.

If Marinette were written as feeling guilty about how she was treating Chat Noir, then this would be a different story. She'd be way more in the wrong and would shoulder a much greater portion of the blame. But as is? She has no idea that she's doing anything wrong. And until someone takes the time to tell her that her actions are causing harm, she is going to continue causing harm because she has no idea that she's causing harm.

In fact, I'd argue that the Alya thing in Hack San is a point in Maribug's favor. Throughout the episode, we see Marinette sending Alya messages on ways to be a good partner to Chat Noir, proving that she does in fact care about him. And then, as soon as Alya says, "You need to talk to Chat Noir," what does Maribug do?

She goes and talks to Chat Noir, giving him a pretty good apology for the problem she now knows she caused. Because, shockingly, Maribug doesn't actually want to hurt her partner. She also clearly cares about his feelings, making me want to take the season four conflict and tear it into itty bitty pieces because what is the conflict even supposed to be when you write shit like this?

I want to briefly step away from Miraculous and talk about this issue in a broader context via this YouTube short:

This short is from a Vietnamese woman who moved to Germany. Her YouTube channel is about her experiences there, including things like the short above which goes into the differences between what it means to be a dinner guest in Vietnam and what it means to be a dinner guest in Germany. In Vietnam, it's apparently standard for the guests to cook dinner with you where as, in Germany, you're expected to have the meal ready when the guests arrive, making this a situation where it's super easy to come across as rude just by doing what you think is normal.

Society is relatively aware that these types of culture clashes are a thing, but you don't have to be from different cultures to have these types of situations. Every person has their own unique needs and ideas of what "normal" is. The culture they were raised in will affect this, but so will their family, their personal needs, and many other factors. Two people can be raised on the same street and wind up with wildly different world views even though they supposedly share a culture. This is extra true when you add in compounding factors like neurodiversity, which is why it's an exercise in futility to say, "But Maribug should have realized..."

Well, she clearly didn't. And you can't change that she didn't realize whatever you're mad about. All you can do is have someone tell her what she's doing wrong. If she then continues the behavior, go ahead and judge away. But if she immediately corrects it like she did in Hack San? Doesn't that just prove that she truly didn't know that Chat Noir was hurting and would have probably fixed all of his problems if someone just pointed them out to her?

This is only exacerbated by the fact that Marinette's behavior in season four is largely unchanged from her behavior in previous seasons. The only major change is that she revealed her identity to Alya, but as soon as that's pointed out as a problem, she course corrects with an apology. After that, she thinks that everything is okay because why wouldn't she? Chat Noir said it was fine and everything else has been business as usual.

Bringing temp heroes into help as needed? That's been going on since season two. Having these additional members has been vital in multiple battles and there have been plenty of times where Chat Noir took a background role to the temp hero of the day like in Sapotis, Rena Rouge's season two debut. So why would Maribug suddenly think that this dynamic is a problem when it's been working fine for so long? We even had a whole episode about how Chat Noir was still needed in spite of the new heroes back in season three! Or, at least, I think that was Desperada's message? This show is shockingly bad at giving clear lessons.

Keeping guardian knowledge from Chat Noir? That's also been going on since season two and was even treated as a conflict that supposedly got resolved in the episode Syren which was the episode that ended with Master Fu coming to the mansion to talk to Adrien after everything was over.

When I watched that episode, I assumed this meant that Chat Noir was going to be more involved in things like picking the temp heroes. I actually thought this was how we were going to get Queen Bee because I knew she was going to be a thing, but it made no sense for Marinette to pick Chloe for a miraculous. Of course, I was wrong. Nothing changed after Syren. Chat Noir remained nothing more than the comic relief while Ladybug got all the insider info.

To be clear, I think that was a terrible move writing wise, but it doesn't change the fact that this is what they went with. This is the established dynamic. I can't even say that Alya learning Marinette's secret led to something new. She's just taken Marinette's old role while Marinette has taken on Master Fu's old role. This show loves it's status quo and Chat Noir has been at least tolerant of that status quo since Syren, so it's not surprising that Maribug doesn't register that this is a thing that should change and no one bothers to point it out to her even though she has a mentor in Tikki (and Su Han, I guess?) and a confidant in Alya and a whole slew of Kwamis who could also provide insight if they were allowed to do that sort of thing. (Sass and Wayzz were robbed of mentor roles.) Additional blame goes to Plagg because he should absolutely have told Adrien to talk to Ladybug. What is the point of giving these characters mentors who never mentor? It's aggravating in the extreme.

To circle back to the first part of your ask, outside of Hack San and Rocketear, I don't think there are any times when Ladybug invites feedback from Chat Noir unless you want to give credit to the end of Kuro Neko:

Cat Noir: (lands next to her) I've been a really temperamental kitty, m'lady. I didn't realize how much trouble I'd make for you by giving back my Miraculous. Ladybug: (sits closer to him) Just because I don't need you all the time doesn't mean that I don't need you at all, Cat Noir. No one could ever replace you.

Which isn't Maribug inviting him to tell her what's up, but she is clearly willing to listen to him and reassure him, further backing up my point about this conflict being some of the worst writing I've ever had to suffer through. If Maribug always fixes the issue as soon as she learns about it, you are not writing a situation where she's clearly in the wrong. You are writing an easily solved communication issue where she gets blamed for something she clearly doesn't realize she's doing wrong and it is so frustrating!!! I feel so bad for her. The next episode is Penalteam, btw, which starts the battle with this gem:

Ladybug: (laughs) Nice scare tactics, but it's not gonna work. Cat Noir and I are the best at soccer! Cat Noir: (Whispers to Ladybug) I don't know a thing about soccer M'lady. Maybe it's time to call the real team?

And basically just spends the whole episode making Chat Noir seems like a worthless partner while Maribug tries her best to make him - and everyone else - feel special.

Oh, and the episode before Kuro Neko? Well, it's technically Ephemeral, but that got magically overwritten so let's go one further back and we get to Dearest Family, which ends with this:

Cat Noir: (grabs a golden paper crown on the coffee table) Since I'm the king, (wears the crown on his head) would you be my queen, Ladybug? Ladybug: With pleasure, kitty cat! Tradition is tradition!

Oh yes, these two are in such conflict and Maribug does nothing to validate Chat Noir. He's in pain every episode and she's just totally oblivious to it.

If that was what they wrote, then I'd probably agree that we needed more instances of her asking if Chat Noir was okay. But it's not what they wrote. If you look through the list of season four episodes, you'll find that less than half of them deal with the supposed conflict of the season (by my count, only 8 of the 24 episodes before the final actually showcase the conflict and they are not in a logical order in terms of escalation as I tried to demonstrate above). The rest of the episodes flat out ignore it or even straight up work against the conflict like when Ladybug says this to Chat Noir in Guilttrip: "I probably don't tell you this enough, but I couldn't do this without you. And it'd be a lot less fun too."

Seriously, what even is this season? What is the conflict supposed to be? Because it sure as shit isn't Maribug undervaluing Chat Noir, if memory servers, season four sees her validate him more times than any other season. And it isn't her guiltily hiding things from him like so many fanfics claim because we have multiple points of evidence that prove that she's completely oblivious that there even is a conflict. So what conflict are the writers actually trying to write?

What's even more baffling is that none of this logically leads to the loss at the end of the season:

Maribug's new secrets didn't lead to her downfall. The only reason she lost was because of the secret that's always been there - a fact that's never revealed to her - and a freaking evil twin! So why did it matter that Maribug was keeping secrets? This is made even worse by season five maintaining all of the secrets, once again begging the question of what lesson were we trying to teach here???

Chat Noir wasn't needed for the final fight of the season, Maribug only needed the powers of a few of the temp heroes to win, a baffling ending to a season whose focus was Chat Noir feeling unimportant. You could scrap that conflict entirely and the ending would not change. In fact....

Adrien quitting to be nothing more than a good little boy who obeys his father would have actually saved the world from eventually being rewritten. If you think about it, the season four final actually punishes Adrien for being defiant. So does season five as, if Chat Noir had quit, his father would still be alive. I thought this show was supposed to be a romcom, not a tragedy. Why is Adrien being punished for being a hero? Is this supposed to be karma for lying to Ladybug with the whole Catwalker thing?

This shit is why I say I'm a writing salt, character sugar blog. I can't get mad at the characters when they're in such a nonsense story where things never logically tie together. They all deserve so much better.

None of this is meant to imply that ignorance is a blanket excuse for hurting others. Nor is it meant to imply that you have to forgive someone who hurt you just because they didn't mean to. There's a ton of nuance around these topics. But season four acknowledges none of that nuance while creating a situation that desperately needed nuance because there was no clear right and wrong here. Should Maribug work to be more aware of others feelings? Sure, but that journey can only start after she's made aware of her faults and no one ever points them out to her. Does Chat Noir need to work on clearly communicating his needs? Desperately, but no one is teaching him that lesson so he remains a terrible communicator who suffers in silence. What impressively bad writing.

[lesbianmaxevans]

daniel molloy, my new bestie