#I did all my characters someone validate me

[fae-morrigan]

Someone put a post (where they admit they straight up dont know these characters lol, and also spell damian as 'damien' so like. yknow.) in the tags saying that if you're a fan of Jon & Jay, you shouldn't buy super son. Well, as the crowned CEO of Jay & Jon, I'm here to tell you guys that you absolutely should.

Super Son did the amazing thing of hitting several marks that I predicted while still managing to surprise me in how they hit them. Which is high praise for any story: A great narrative should be able to both meet reasonable audience expectations (i.e, staying in character, setup payoff) WHILE STILL throwing in curveballs that tell you something new.

There's a lot I want to analyze and get into, namely how I think the rooftop conversation between Jon & Nia is really brilliantly done in what it says about both characters, but mainly I've been thinking a lot about how great those last few pages were and how I think Sina absolutely nails how Jon & Jay's specific issues interact with each other.

Jay's always been a blunt person. From their first meeting back in SOKE 2, hes said what he thinks, and rarely does he try and soften himself. More than that, his bluntness is often a shield from vulnerability, which Jay struggles with the whole scene. It makes total sense, after what hes experienced (re-traumatization at the hands of a friend) that he's displaying that trait again.

Jon, however, is immediately vulnerable. This is the most poignant confession of the issue: Not even in the amazing sequence of Nia helping him make a place in the darkness (look, its back, thanks isabel!) do we get this admission of fear.

And Jay, like always, embraces him. Sidenote, LOVE how they got in the thing Jon does where he's constantly tucking his face in people's shoulders during hugs.

But the moment ends, and we get here. First of all, cold af. I could feel the aura before I turned the page.

Second of all: Jay is totally valid in feeling this way. And it makes perfect sense that he would.

Sara was his everything. Getting her back was one of his main motivations in SOKE. Because of Nia's actions, she died horribly (do you know what happens to a person when they fall from that sort of height? I do. Its AWFUL.) for an unjust cause. Of course he's glad she can't hurt anyone else!

And that's when we get to my FAVORITE PART! Oh how I love this bit. Because like. You understand why Jon's angry- Its a harsh thing for Jay to say! Nia was the one who kept him sane while he was trapped in his own mind! But Jay, like always, is RIGHT: Jon DOESN'T get it. How could he?

Jon Kent will NEVER, ever, be put in this position. Out of universe, his parents are Clark Kent and Lois Lane. They'll ALWAYS come back. Hell, the fact they'll always come back is something Ma LITERALLY says to Jon in SOKE. He will never, ever have to know this pain.

In universe, Jon's a white american. Despite being queer, despite being an alien, he'll never know what its like to be this kind of collateral, delegated as pawns in a greater war for 'freedom'. That is what killed Sara at the end of the day: imperialism.

This next bit hurts my heart. Great job, guys!

For one: Jon claims he's not excusing the mistakes Nia made, but by downplaying it like this... yes he is. But did you catch that part? Right at the start of that bubble?

"I'm going to fight every day to make up for my own part in this."

That's where it clicked for me. Something I had been hoping for since Nicole first called them twin flames.

He's projecting.

Of COURSE he's defending Nia. Of COURSE he wants Jay to forgive her. It isn't just about the fact that she gave him support, it isn't just the dreams, its the fact that... well. If Jay can't forgive her... how could he EVER forgive HIM?

THIS is where the fact that Jon and Nia are so similar as character SINGS. They become mirrors to each other, evaluating their own self worth through the other, at the unintentional expense of the people they've hurt.

Jay's right, though. Again. Its almost like he's the embodiment of the truth or something. He doesn't HAVE to do anything.

When he starts crying though, I immediately was RUINED. This is the first time we have EVER seen him cry before during his entire existence of a character. And its not really even because his mom is dead (though yes, that) and its not even because of the argument. Its because Jay fundamentally wants to be understood, and he's not getting that.

Which is important for the next bit:

I want to first backtrack a bit to Son of Kal El again, specifically, issue fourteen, right here.

Hello, two-panel sequence that succinctly describes these two as characters. How convenient you are for me, a guy analyzing a work that isn't written prose.

Jon isn't good at letting go, for better or for worse. The things he cares about stay with him, and when something or someone tries to exit his life, he clings to them with all his might.

Jay however, both selflessly and selfishly, is willing to let go first if he thinks its better for the other person. To me this line so effortlessly summarizes who Jay is- he's a person who's accustomed to not having things, and will leave before it hurts and he gets too attached.

And that thought is ALL over this scene. Jay, who begins to let go, Jon, who both literally and physically CLINGS to jay, practically begging him to stay.

(Sidenote. This is like, the third time Jay mentions breaking up when Jon starts acting up. Good for you king, keep that white boy on his toes, let him know he ain't all that.)

Every little detail of this four panel sequence is killing me. "My worst nightmare is not having a home with you in it." His greatest desire. The thing that kept tipping him off in every fake reality Nia constructed for him- Jay's absence. Him wiping the tear of Jay's cheek. Jay walking away from him.

But what really gets me is how on this page, Jon talks about them as 'we', while Jay is firmly stuck in 'I.'

This is what made me LOSE MY MARBLES at three in the morning. Just utterly fucking off my rocker in a straightjacket talking to myself.

Because this is what JON wants. But is it what JAY wants?

Jon never asks.

What about what Jay fears? What about the life that HE wants? What if he doesn't want San Francisco? What if the life he wants is the life he HAD before everything went wrong? Jon outright says he wants a fresh start. But Jay, Jay's someone with such deep connections to what he just lost, what he likely WANTS to get back. His country. His mother. His sense of self. But. He says yes.

(Sidenote. FIRST I LOVE YOU WOOOOOOOOOO) To quote my buddy Dami: Oh, the drama of needing a future with someone who can't get over the past.

It is left unclear, by the end, whether or not Jay is saying yes to this because he genuinely wants to, or if he's only saying yes because he doesn't want to lose Jon, too. Jon doesn't stop to question whether or not Jay's only reaching after him because Jon's walking away. We, the audience, are left to ponder that for ourselves.

How much of Jay saying yes is him just accepting that this is the best he's going to get? That he's never going to be understood because nobody wants to understand?

He's an afterthought to Nia, an obstacle at best, and to Jon he's a particularly handsome prop in this little fantasy he has of running away and starting new. He's either not thought of at all, or when he is thought about, it's in the context of how he can emotionally fulfill the other person And you get why Jon did this. He's desperate, he's hurting, he just got tangible evidence that the time he has with the people he loves isn't ever guaranteed. He's been needing space from Clark and Lois for MONTHS because god knows they haven't been fulfilling his emotional needs. In a very real sense, Jay is who he has.

But wanting someone to stay with you so much that you'll... Not even ignore, but just not ever consider what they may want. The intentional isolation, moving halfway across the country away from all support systems. The need to cling to someone.

It reminds me of... something. Someone.

Don't tell Jon I made this comparison. He'll kill himself. Jon and Ultraman ARE similar. They're both such deeply lonely people who cling very tightly and even though it manifests in different ways and even though they have different core thoughts about it. The effect at the end of the day is the same, isn't it?

Is loving Jay not a brutal act of destruction?

There's so many more details about this story I love. Jon & Nia's conversation being vague enough that you have no idea how Jon meant what he told her but you KNOW how NIA took it (girl you can do better hes literally ugly!). Jon breaking a pillar by bonking his head against it (LMFAO). The pretty lies vs ugly truth dichotomy of Jay vs Nia here.

But this one scene, man. This one fucking scene takes the cake. STELLAR work all around. Every panel counts.

This better lead into a full Superman & Gossamer run or SOMETHING or I'm going to have WORDS with DC's editorial staff.

[pipsqueakparker]

i'm writing a fic (it was not supposed to be as long as it's becoming) with millie & blitz that takes place right after western energy

yknow for maximum angst

but anyway so i rewatched the episode for Research purposes and this was the first time i caught this

i mean, first of all, love all the foreshadowing hidden amongst these like 2 second frames. but does that say 3 days?

im assuming that's a reminder notif for the meeting with oz in 'oops' - are you telling me that happened 3 days after he was nearly killed?

so this man rolls up to ozzie's, still freshly full of ptsd from his own assassination attempt, i'm sure. and then is there for the moment ozzie finds out his boyf has been abducted (just like stolas had been) and that also, it was the same fucking man.

also okay now that i'm here, can we just talk about not only the like reliving of trauma that just seeing striker probably did to stolas but also.

but also.

ozzie's reaction to fizz being kidnapped & threatened is, like, probably the exact reaction he wishes blitz had had. that's the response he wishes he could garner out of someone, but instead. his wife put the hit on him, and... no one cared, at least in his experience of it, i'm SURE that's how it felt.

like, yes, moxxie & millie came and saved him, and yes, blitz had such a valid reason to not be there. but if we're looking at it through stolas's eyes - the only thing that kept him from being fucking murked right then and there was stella calling it off. millie & moxxie got there after that, but if stella hadn't called would they have gotten there in time??

and i mean, striker sure did make a point to rub in how no one was coming for him. (and like then he got left on read while he was in the hospital! ouch!)

if stolas felt a little bitter while he watched ozzie fight to do whatever the fuck crimson wanted just to keep fizz safe... yeah, i wouldn't blame him. that fucking sucks. that. fucking. SUCKS.

this poor goddamn owl.

(and i'm not disparaging blitz at all with this before anyone reads it that way. this all started bc i'm writing a whole ass fic now from blitz's pov after the 'git bevver swoon' text, bc as someone with a lot of useless guilt in my soul, i love digging into characters and their guilt complexes)

[moeblob]

Deacon loves two things: Ymber and digging himself a grave.

Fulj hates one thing: Deacon.

[best-enemies]

I've reached season 5 on my CSI rewatch and I'm a few episodes past "Swap Meet", where a woman is murdered after attending a swing party with other couples from the neighbourhood. Near the end of the episode there's a moment that made me jump from my seat:

(Grissom walks up to Sara and takes the seat next to her. He's holding two cups. He hands her a cup of tea.)

[INT. POLICE DEPARTMENT - BRASS' OFFICE]

Erin Brady: Everybody fantasizes about other people. (She glances at Grissom.)

Even you, Mr. Grissom. A neighbor, a friend ... girl at the office.

[INT. POLICE DEPARTMENT - HALLWAY]

(The door opens. Paul Brady walks out of the hallway. Erin Brady walks out into the hallway. Sara is sitting in the hallway chair watching them. She watches as they meet and kiss.)

(Grissom walks up to Sara and takes the seat next to her. He's holding two culps. He hands her a cup of tea.)

LIKE!!!!!!!

Right after Erin ends her sentence with 'girl at the office', the first time Sara and Grissom meet again, he brings her tea. This might be an innocent interaction but to me it seemed like a nod to this relationship they have where both are into each other, know about the other's feelings, but can't/won't do anything about it (although Sara has kind of given Grissom an ultimatum). I don't know if it was intentional - I'm guessing it is, because I picked it up immediately. I might or might not have squealed in delight.

[fate-defiant]

'kay so I doodled another thing before bed, just to test the tool further. I wanted to see what I could do if I went beyond just a sketch with a bit of color slapped onto it. Not gonna lie after fiddling witth the brushes further I was a bit dissapointed - they're not unworkable, but the limitations are frustrating nonetheless. I ended up doing the lineart as though I was working with a mechanical pencil - set the brush size to being as thin as possible(i worked on a 800x600 pixel canvas here, for the record) and then just sorta went over the parts I wanted to be bolder several times. It didn't turn out great but that's more of a skill issue on my part.

All this isn't to say that's it's bad, for the record, the main goal of the people making this was clearly to make something for people to have fun together with and not a perfect clone of [insert your preffered drawing program here]. If I experimented further I could definitely figure out plenty of interesting things that can be done with just the free features, I just don't have the time or the patience tonight.

[prentissluvr]

tw long rant and swearing!

hey!! if you don't like something i wrote! shut the fuck up and move on!! thanks bye!! no hate is tolerated on this blog :)))

i don't care if you don't like the way i characterized someone in my story!! shut up and get a better hobby than hating on something someone has spent hours creating and pouring love into and accusing them of hating one of their favorite characters because you think that the fic they wrote FOR FUN and NOT FOR YOU is bad characterization/makes the character flawed in a way that you don't like because you have a poor understanding of what makes fanfiction fanfiction (and also humans human tbh lol). sure, they're maybe more flawed than in the actual show, but THATS THE FUCKING POINT OF FANFICTION!!! IS THAT ITS NOT A REAL PART OF THE SHOW!!! AND ITS WRITTEN!!! FOR FUNNNNN!!!!! AND NOT FUCKING FOR YOU AND YOUR FUCK ASS OPINIONS SPECIFICALLY!!!!!!!! and if you think it sucks, i don't care!! you are entitled to your opinion!!!! hate it so so so much but get the fuck over yourself if you think that telling me it's horrible and unrealistic and somehow creating a bad wrap FOR MY FAVORITE CHARACTER IN THIS SHOW is somehow a meaningful usage of your time or gonna get me to delete the fic or stop liking it or stop promoting my own hard work !!!! i'm proud of the things i write and nothing will ever change that. i hope you know what a shitty shitty shitty (and embarrassing) thing it is to do to leave a whole paragraph of hate under someone's hard work just because they interpret a fictional fucking character in a way that you don't like. genuinely genuinely get the fuck over yourself and find a better way to spend your time than caring more about fictional characters than real life people.

[juusasu4evagrrl]

Genuine question, does anyone want to hear about naruto from the prospective of a Liberian person grappling with the generational trauma of a brutal civil war or is that too heavy??

Like there's, I like sasuke cause he's a cool dude, very wholesome do tell, and then there's, I like sasuke cause the government also tried to eradicate my people group that one time and holding empathy for that dumbass kid teaches me to examine a my own experiences with compassion, honestly what a downer like who cares.

I don't know thoughts???

[little-laurance]

Not to stir up trouble, but the Aphmau fandom can be so hard to be in sometimes cause all of us have increasingly strong parasocial relationships with characters who kinda sucked

[jacksintention]

I really can't stand Gil

[quiescentdestiny]

.

[inhonoredglory]

Aziraphale’s Choice, the Job Connection, and Michael Sheen’s Morality

Update: Michael Sheen liked this post on Twitter, so I'm fairly certain there is a lot of validity to it.

I’ve had time to process Aziraphale’s choice at the end of Season 2. And I think only blaming the religious trauma misses something important in Aziraphale’s character. I think what happened was also Aziraphale’s own conscious choice––as a growth from his trauma, in fact. Hear me out.

Since November 2022 I’ve been haunted by something Michael Sheen said at the MCM London Comic Con. At the Q&A, someone asked him about which fantasy creature he enjoyed playing most and Michael (bless him, truly) veered on a tangent about angels and goodness and how, specifically,

We as a society tend to sort of undervalue goodness. It’s sort of seen as sort of somehow weak and a bit nimby and “oh it’s nice.” And I think to be good takes enormous reserves of courage and stamina. I mean, you have to look the dark in the face to be truly good and to be truly of the light…. The idea that goodness is somehow lesser and less interesting and not as kind of muscular and as passionate and as fierce as evil somehow and darkness, I think is nonsense. The idea of being able to portray an angel, a being of love. I love seeing the things people have put online about angels being ferocious creatures, and I love that. I think that’s a really good representation of what goodness can be, what it should be, I suppose.

I was looking forward to BAMF!Aziraphale all season long, and I think that’s what we got in the end. Remember Neil said that the Job minisode was important for Aziraphale’s story. Remember how Aziraphale sat on that rock and reconciled to himself that he MUST go to Hell, because he lied and thwarted the will of God. He believed that––truly, honestly, with the faith of a child, but the bravery of a soldier.

Aziraphale, a being of love with more goodness than all of Heaven combined, believed he needed to walk through the Gates of Hell because it was the Right Thing to do. (Like Job, he didn’t understand his sin but believed he needed to sacrifice his happiness to do the Right Thing.)

That’s why we saw Aziraphale as a soldier this season: the bookshop battle, the halo. But yes, the ending as well.

Because Aziraphale never wanted to go to Heaven, and he never wanted to go there without Crowley.

But it was Crowley who taught him that he could, even SHOULD, act when his moral heart told him something was wrong. While Crowley was willing to run away and let the world burn, it was Aziraphale (in that bandstand at the end of the world) who stood his ground and said No. We can make a difference. We can save everyone.

And Aziraphale knew he could not give up the ace up his sleeve (his position as an angel) to talk to God and make them see the truth in his heart.

I was messed up by Ineffable Bureaucracy (Boxfly) getting their happy ending when our Ineffable Husbands didn’t, but I see now that them running away served to prove something to Aziraphale. (And I am fully convinced that Gabriel and Beelzebub saw the example of the Ineffables at the Not-pocalypse and took inspiration from them for choosing to ditch their respective sides)

But my point is that Aziraphale saw them, and in some ways, they looked like him and Crowley. And he saw how Gabriel, the biggest bully in Heaven, was also like him in a way (a being capable of love) and also just a child when he wasn’t influenced by the poison of Heaven. Muriel, too, wasn’t a bad person. The Metatron also seemed to have grown more flexible with his morality (from Aziraphale's perspective). Like Earth, Heaven was shades of (light?) gray.

Aziraphale is too good an angel not to believe in hope. Or forgiveness (something he’s very good at it).

Aziraphale has been scarred by Heaven all his life. But with the cracks in Heaven’s armor (cracks he and Crowley helped create), Aziraphale is seeing something else. A chance to change them. They did terrible things to him, but he is better than them, and because of Crowley, he feels ready to face them.

(Will it work? Can Heaven change, institutionally? Probably not, but I can't blame Aziraphale for trying.)

At the cafe, the Metatron said something big was coming in the Great Plan. Aziraphale knows how trapped he had felt when he didn’t have God’s ear the first time something huge happened in the Big Plan. He can’t take a chance again to risk the world by not having a foot in the door of Heaven. That’s why we saw individual human deaths (or the threat of death) so much more this season: Elspeth, Wee Morag, Job’s children, the 1940s magician. Aziraphale almost killed a child when he couldn’t get through to God, and he’s not going through that again.

“We could make a difference.” We could save everyone.

Remember what Michael Sheen said about courage and doing good––and having to “look the dark in the face to be truly good.” That’s what happened when Aziraphale was willing to go to Hell for his actions. That’s what happened when he decided he had to go to Heaven, where he had been abused and belittled and made to feel small. He decided to willingly go into the Lion’s Den, to face his abusers and his anxiety, to make them better so that they would not try to destroy the world again.

Him, just one angel. He needed Crowley to be there with him, to help him be brave, to ask the questions that Heaven needed to hear, to tell them God was wrong. Crowley is the inspiration that drives Aziraphale’s change, Crowley is the engine that fuels Aziraphale’s courage.

But then Crowley tells him that going to Heaven is stupid. That they don’t need Heaven. And he’s right. Aziraphale knows he’s right.

Aziraphale doesn’t need Heaven; Heaven needs him. They just don’t know how much they need him, or how much humanity needs him there, too. (If everyone who ran for office was corrupt, how can the system change?)

Terry Pratchett (in the Discworld book, Small Gods) is scathing of God, organized religion, and the corrupt people religion empowers, but he is sympathetic to the individual who has real, pure faith and a good heart. In fact, the everyman protagonist of Small Gods is a better person than the god he serves, and in the end, he ends up changing the church to be better, more open-minded, and more humanist than god could ever do alone.

Aziraphale is willing to go to the darkest places to do the Right Thing, and Heaven is no exception. When Crowley says that Heaven is toxic, that’s exactly why Aziraphale knows he needs to go there. “You’re exactly is different from my exactly.”

____

In the aftermath of Trump's election in the US, Brexit happened in 2018. Michael Sheen felt compelled to figure out what was going on in his country after this shock. But he was living in Los Angeles with Sarah Silverman at the time, and she also wanted to become more politically active in the US.

Sheen: “I felt a responsibility to do something, but it [meant] coming back [to Britain] – which was difficult for us, because we were very important to each other. But we both acknowledge that each of us had to do what we needed to do.” In the end, they split up and Michael moved back to the UK.

Sometimes doing the Right Thing means sacrificing your own happiness. Sometimes it means going to Hell. Sometimes it means going to Heaven. Sometimes it means losing a relationship.

And that’s why what happened in the end was so difficult for Aziraphale. Because he loves Crowley desperately. He wants to be together. He wanted that kiss for thousands of years. He knows that taking command of Heaven means they would never again have to bow to the demands of a God they couldn’t understand, or run from a Hell who still came after them. They could change the rules of the game.

And he’s still going to do that. But it hurts him that he has to do that alone.

[k8lynjoy]

I'm so tired of people telling those of us who are upset about the LA atla remake that we are "being too dramatic" or are just "finding things to be upset about". We are allowed to be upset that something that we love so dearly has been butchered, AGAIN. If you liked it, then that's your personal opinion, but don't sit here and tell those of us who didn't that we're the problem.

I personally think the CGI, costumes, and sets all look terrible. None of it is immersive. Sure, it LOOKS like atla, but it doesn't FEEL like atla. The heart of the og is gone, and people are allowed to be upset about this. They've altered characters to the point that they aren't the character anymore (looking at you Aang and Katara), which is a huge upset for me personally because Katara is one of my favorite characters ever. So watching her be turned into someone meek and docile is more than a slap to the face. Not to mention them removing her as the narrator as if Bryke themselves didn't state that Katara is the person the story is being told through. And before you start telling me that Aang is the same. No, he isn't. Major parts of his development through season 1 (him coming to terms with the fact that he's the avatar and embracing that role, and him also accepting the fact that he RAN AWAY and how he is never going to do that again, which is also pivotal to his character later on) are completely removed. And don't even get me started on what they did to Kataang. Regardless of whether you ship them or not, those 2 are deeply connected to one another from the start, and their relationship is a big part of the show, so to see that butchered is heartbreaking for me.

This isn't just about them "making some changes" or it not being a 1:1 adaptation. I'm fine with adaptations that aren't 1:1. What I'm upset about is that the changes they are making are VITAL changes to characters and dynamics between characters. They're rushing through the plot and condensing the story (and I will scream if I hear one more person say that it's because they couldn't fit it all in with their runtime. The runtime is an HOUR LONGER than the og, so yes, they did have the time). The changes they are making make it evident that they do not understand the og show, and if you don't feel like that, fine, once again, that's YOUR opinion, just as this is MY opinion. So stop telling us we have no right to be upset and that we just want to hate everything. That's not true. What is true is that we are expressing valid complaints about another bad adaptation of something dear to us.

Edit: If you also come at people who are upset bc they were expecting a faithful adaptation and didn't get it bc "its not supposed to be the cartoon," you're missing the whole point. An adaptation is ADAPTING SOMETHING from one medium to the other, not rewriting it. "Yall expected it to be just like the cartoon." No, I expected a FAITHFUL ADAPTATION and was met with poorly written fanfiction.

[phddyke]

Hazbin Hotel is actually healing my inner ex-Christian so hard.

No joke, I nearly started cheering when Lute called Charlie and Vaggie’s love “vile and blasphemous” (and then burst out laughing when Adam immediately followed it up with “Hot as fuck though”). I know that may sound weird considering that I am, in fact, a lesbian, but here me out:

Seeing Christians being explicitly homophobic onscreen? It validates me. It makes me think “Oh yeah, I’m not crazy, Christians are that hateful!” And, call me crazy, but I think homophobia being tied in with villainy is a good thing. Neither Adam or Lute are supposed to be good people; they are very obviously the villain, and that establishes their behavior as bad. Someone on Twitter said that Lute gave them religious fanatic vibes and I couldn’t agree more.

And here’s the thing, too: it’s explicit homophobia, not some dumb metaphor. There’s no way to take it as anything else. And I really need that. I need to see Christians being explicitly homophobic onscreen in the same way that other people need and create worlds where homophobia doesn’t exist.

But me? I want my pain and suffering acknowledged. I want the harm that Christianity does acknowledged. Homophobia is real and the religious kind doubly so. I related to Vaggie so much in that episode; I felt her trepidation about going back to Heaven. Felt like a good metaphor for escaping a fundamentalist church only to be forced to visit again.

And Viv is not afraid to explicitly point this out and criticize them. Like, yes! Say it! They are hypocrites! They don’t care about people being better, they only care about punishment! They maimed one of their own and left her to die because she spared a child! They’re homophobic freaks! They would never see the good that Angel does and how he’s improved and is wonderful, they only see that he’s a drug addict and a sex worker and think he’s worthless for that even though Jesus broke bread with sex workers and people considered the dregs of society. (And of course Angel is gay on top of that.)

And another thing: not only did the Adam line make me laugh, but the second homophobic Lute line about “he blew his shot like the cocks in his mouth” cracked me up too. It reminded me of the pilot where Katie Killjoy said “I don’t touch the gays” to Charlie, which is a line that made me laugh for 4+ years straight. When I told my brother that was the funniest homophobia I’d ever heard in media, he very wisely said, “All homophobia is funny if you think about it.” And you know what? He’s right. It is funny, because it’s so fundamentally goddamn stupid, so let’s give characters ridiculous lines so everyone can laugh at how idiotic they and their beliefs sound.

[tocomplainfriend]

Vivziepop is still Transphobic 10 years later!

(I'm writing this as a trans non-binary person btw)

Basically: "Transmen are only depressed females who are ashamed of being women" In other screenshots, she has another pfp, which people already knew she had a Blitz pfp, people thought it was fake cause of the moe pfp. But right here there was proved it was her. Dates match up and all. This is all in 2023!

This is directly from Ken btw, who they were friends with- and worked on Hazbin. Also wrote a most of the fucking pilot and got ""additional writing" credits... plus the Cherry bomb thing too!

"I honestly believe it's incredibly rare, VALID as hell, but rare"

Based on this few messages alone, you should realize her ""acceptance"" of trans-people is selective as fuck. She also NEEDED to state the trans people are rare, so bad here too. I as a trans person, I have always considered this a BIG red flag! Because people who say that are ready to invalidate others on the idea of "trans people are rare, you must not be trans because you don't fit my standard!"

Here she is using She/Her on Ken who uses only They/Them. She already knew Ken as a friend, so the misgendering here is just rotten.

All of this is recent as fuck! Since Hazbin was getting made until 2023! This one below, of Salem, shows xe experienced the same thing during the start of Helluva Boss. (Below there is a link to a threat talking about Viv being terrible to xem!)

Here also seems to be another trans character, from millie's siblings! Designed to be transmasc?

Oh fuck me, never mind! They changed his design to be a cis male imp.

I have already talked about how I personally feel about how Sallie may is treated! Viv treats all trans characters and people terrible, and she has something against transmasc people specially. -And for someone so selectively transphobic, with all of her comments-she is transphobic against Non-binary people! I mean, she already didn't respect the usage of them/they pronouns, so... She can not go around saying this shit of telling queer stories and people who critique me are being homophobic WHEN SHE IS LIKE THIS.

This is older, too! Viv has being transphobic back then and still is! Drawing a caricature of a transman you don't like -like this!?

This is a meme video that Vivziepop did too. This is rotten. People sure can change, but this woman has being transphobic over 10 years, like... I don't know how old is this character but- you can search fan art of this character since 2015...

Again please read:

[meo-eiru]

heyy!! here I am with some more thoughts, this time about Elias.

honestly, for some reason, he seems like a very lonely person to me. you mentioned his will to change himself (and go to extreme lengths in that); also his almost paranoid fear of darling leaving him, (delete all of your contacts except for him, etc) – usually such level of jealousy is a sign of very low self-esteem. dunno if it's true, I just had a feeling that he's super insecure deep down. (he's afraid to look bad in our eyes, remember? to an unhealthy extent.)

and he's so empty. so beautiful on the outside, but so so empty. he loves you, he exists for you, isn't that enough? it isn't. you can't feel genuine affection for someone just because they look good. and Elias knows that! he's actually self conscious (unlike some elf with big tatas), but he can't offer you anything else, which must make him feel even more insecure, because deep down he knows that he won't be able to keep you by his side forever.

actually that will of his to go to extreme lengths for us is pretty frightening. how toxic it can be? depends on the darling! because if you are a normal person, you'd be patient with him, change him, and have a happy ever after and all those boring things. but what if Elias happens to fall in love with an unreasonable and possessive monster?

I feel like he'd go very well with a darling who's yandere for him too. and a stereotypical one at that, who'd want to keep him by their side like a pretty doll. get it? not a life partner, not even a human. a doll, a pretty thing to take care of. they would choose pretty clothes for him, brush his hair, but at the end of the day, he's nothing more but a pretty thing, an object.

I really like the doll metaphor for Elias. (I'm a huge doll lover, I ever have one of that super expensive bjd) dolls are beautiful, but aren't alive. they can't be someone you'd open your heart to; under their shiny porcelain skin, they're hollow.

unlike Silas, Elias is a more tragic character in my eyes. he's willing to carve his bones to whatever shape you desire, because if he isn't validated and noticed by you, he has no value. and you (if you are a normal person) will grow tired and bored of him, sooner or later. he wants to be loved, when there's pretty much nothing to love in him.

unlike Silas, his love can ruin only himself.

(I swear it's not like I want to see him suffer in particular. I'm open to all kinds of despair, pain and sadness, whether it yan's or darling's!)

(also I tried to find his colour scheme, but all I found was you mention his hair, so it's just how I think he looks like.)

DHDKDHDKYS NOT ONLY IS YOUR ANALYZES AMAZING YOU ALSO DREW ELIAS??? AND HOW DID YOU GET HIS COLOR SCHEME SO RIGHT???

I love you thank you god I love asks like yours.

You’re very on point, Elias is like a pretty doll. Beautiful on the outside but completely empty inside, and that beauty is the only thing that gives him any kind of worth. He’s aware of this more than anyone.

He’s not rich, he doesn’t have an amazingly successful career, no hobbies, no specialities, no interests. He’s extremely pathetic and all he can do is pitifully attempt to pull you down to his level.

That’s why committing self harm comes so easily to him even if he doesn’t yearn for it. Endangering himself, his only value, his body, is the only way he can keep you with him. He doesn’t have any power over you he can use against you. He only has this disgustingly and pathetically beautiful body.

He wants to be loved by you, he wants you to be obsessed with him as much as he is with you, but deep down he knows he doesn’t have any qualities that could deserve such love. That is why he leans into his appearance so hard, since the moment he was born that face of his was the only thing that gave him any sort of value.

If you find any part of him ugly he’ll have no choice but to try to fix it even if it completely ruins him. Because he thinks that’s the only way for him to keep your eyes on him. He’s just through and through pathetic. Extremely pitiful.

He would indeed roll well with a yandere reader who treats him like a living doll. Because Elias wants to be values by you, even if it means getting stripped of the little sense of identity he had. He wants you to keep your eyes on him and see him as an object who exists for your satisfaction. Because at the end of the day that is what he is. An empty shell who was unfortunate enough to be born with the ability to love.

Elias’ existence can’t handle his own love. He’ll start breaking from inside out like a doll under pressure. That’s why he needs your reassurance, he needs you to reaffirm his worth. He can’t exist for himself so he needs to exist for you. He might be a beautiful shell of a human but he too can have some sort of value if he’s being used like a tool by you.

But watching you also makes him feel extremely jealous and frustrated. Because you have everything he doesn’t have. You have hobbies, things you enjoy, things you do for yourself, people who stay with you not for your outer shell but for who you are inside. Everything Elias never had and never will.

That’s why he tries so hard to ruin your relationships and threaten you to stay with him, to keep you at his level like a pathetic bug. Because you’re not like him. You can abandon him any day of the week and continue your life like you lost nothing, but Elias isn’t like that. If he loses you he truly will have nothing left.

So please love him, ruin him, break him, treat him right, use him, make him feel alive, give him some sort of value. Please be kind to Elias. He needs you more than anyone on this world

[miraculouslbcnreactions]

Regarding the post about Marinette being punished for trusting people and the response to it, this is something I always have trouble explaining because it sounds callous? But fictional characters aren't people. It's not that their lives just so happen to get in the way leading to something bad happened the writers decided that should happen, and it's important that you stop and ask WHY this happens. If the camera is "on" per se, people assume it's relevant and will tie into something larger. So like if the camera is on and all we see is Alya revealing her identity and then the result is she's outed in the same way she was in Heroes Day, the audience naturally concludes it's connected and thus realizes the lesson is either "Alya learns she shouldn't share her identity" OR "Marinette learns she shouldn't trust people" or both.

Secret identities are a great example of this phenomenon. We're NOT shown every time a villain's plan is foiled because they didn't know the heroe's identity, we ARE shown every time a heroe's identity causes friction in their lives. As such, large parts of the audience think of secret identites as inconveniences because that's what's shown (not just in Miraculous Ladybug, in tons of other shows)

Like you are supposed to make connections in Television about what's being shown to you that no one would make in real life (or at the very least no one SHOULD make in real life) because there's a limited space to tell the story and the audience is assuming the writers aren't wasting our time.

If these were real people it would be unreasonable to say because people have their own lives Marinette can't trust them, but in a story where Marinette is the main character who is explicitly always supposed that's. An accurate way to read the story!

And I also understand that this is a very boring construction if you're making headcanons or thinking about these characters! But that's a different lens, it doesn't make the broader writing lens invalid. You're speaking different languages at that point.

Anyway I hope that helps someone, that's my two cents

You summed it up perfectly! There's a ton of valid criticism to be had of Miraculous, but you can tell from the narrative framing that almost all of it comes down to writing choices and not things that are supposed to be seen as in-universe issues even though a lot of fans treat them as such. It's really weird to see things like people complaining about everything revolving around Marinette as if it's a personal flaw of hers and not the result of her being the main character in a fictional world. "Main Character Syndrome" literally pulls its name from the fact that this is how main characters work in a lot of media. It's a flaw when a real person does it, but in terms of story telling, it's extremely normal - and often good story telling - to have everything revolve around your main character or a core cast.

The issue with Miraculous is that they chose a lot of poor conflicts if they wanted Marinette to be the one and only main character, but that's not her fault. She didn't decide to have the rules around identities make no sense. The writers did. She didn't decide to make the main villain Adrien's dad while also keeping Adrien from being involved in the story. The writers did. The list goes on and on and, because none of it reflects badly on Marinette in the writers' eyes, the show doesn't act like Marinette is in the wrong. Remember, these are the same writers who think that Derision was a great episode that added depth to Marinette instead of destroying her character and making her look unhinged. Their judgement is clearly a little skewed.

While the writers love to make bad plot choices, they are generally using proper story telling language to make those choices, which is why I can tell you how characters' actions are intended to be read. The Rena Furtive and Nino example is a great one because it allows me to show that the writers do understand how to set things up. In fact, once they've decided that they're going to do a thing, they pretty much always set it up at a basic level. It's rarely spectacular and often frustrating, but it's never shocking.

In Rocketear, Alya promises Marinette that Nino will never learn about Rena Furtive. The episode then ends with her breaking that promise via the following exchange:

Alya: (sighs) I'm still Rena Rouge. (Nino gasps.) But now I'm in hiding and that's why Ladybug asked me not to tell anyone. Nino: But why are you telling me if no one's supposed to know? Is Ladybug cool with this? Alya: I can't hide it from you, because I love you, Nino, and we share everything.

Look at how this confession is presented. Look at what the dialogue focuses on. When Marinette confessed her identity to Alya, it was all about the confession and supporting Marinette. There was no discussion of this being a problem for Chat Noir or anything like that because - in the writers' eyes - that wasn't a problem for some reason. This is why Chat Noir almost instantly absolves Ladybug of blame once he finds out about the identity reveal (see: Hack-San.) The writers didn't want it to be an issue so it wasn't:

Ladybug: I'm really sorry, Cat Noir. I should've told you. I mean, if I found out that you told someone about your secret identity, I'd... probably be upset, too. I'm really sorry I hurt your feelings. Cat Noir: You didn't hurt my feelings. You did everything right

But when Alya confesses her identity to Nino, the conversation is not just about her confession. It's about her confession and how she's not supposed to do this. That's why Nino's response is not loving support. Instead, he asks if this is a good idea and if Ladybug knows.

These things are getting focused on because the writers are telling you that this is a bad thing. It's supposed to feel ominous. When I first watched Rocketear, I assumed that the season was going to end with Gabriel getting the fox off of Alya due to Nino because that was an obvious way to raise the stakes and they'd just heavily implied that Nino knowing would be a bad thing. I was, unfortunately, right. The only on screen consequence of Nino knowing is that he outs Alya to everyone in an incredibly forced series of events (see: Strikeback):

(Ryuko successfully prevents the Roue de Paris from hitting them, yet, it flies to the direction where Rena Furtive is. This causes Carapace to panic.) Carapace: Rena! (takes out his shield) Shell-ter! (Carapace's superpower successfully prevents the Ferris wheel from hitting Rena Furtive on top of the Tour Montparnasse. But the information of Rena Furtive's active status shocks the heroes, as well as Shadow Moth.) The heroes: Rena?! Shadow Moth: (from the top of the Eiffel Tower) She's still active?

Of course the Ferris Wheel goes straight for Alya's hiding spot and of course Nino screams her name before casting his power and of course the villain overhears it. It's all so forced and unnatural, which should make it glaringly obvious how much the writers wanted this to happen. This wasn't something they were kind of forced to do because it made sense for the narrative and they wanted to tell a good story. Instead, they wrote an awkward series of events because they really, really, really wanted Nino knowing to be a bad thing that outs Alya so that Marinette loses all of the miraculous even though none of this makes much sense.

How the hell did Gabriel hear Nino's shout from so far away? Is he able to overhear everything the heroes are saying? How does Nino even know that Alya is hiding there? And since when was a Ferris Wheel a threat to these guys? Your girlfriend is a magical girl and she's in her magical girl form, dude. You could drop a building on her and she'd be fine, a thing you have to know because this scene literally goes on to have Chat Noir go flying into a building, hitting it so hard the cement literally cracks, and no one really cares. I guess it's fine if Adrien is a punching bag, but Alya must be protected at all costs...

Anyway, while the above series of events was annoying, none of it was surprising. In fact, it would have all be perfectly predictable even if Alya outing herself was that treated as a more neutral event. Her choice leading to bad things falls perfectly in line with a truly bizarre running theme in the show: outing your identity to the person you love romantically is a bad thing that leads to bad consequences. That's why Chat Blanc and Ephemeral ended the world and why Nino knowing cost Ladybug the fox and why the character they call Joan of Arc has to give up her miraculous to be with her love and why the Kwami's have this absolutely asinine dialogue in Kwamis' Choice:

Plagg: Sugarcube! Having to force them to choose between love and their mission is just awful! Maybe Master Fu was wrong to choose them. Tikki: No, they’re made for each other. Love is what gives them their strength. Plagg: But the impossible part of that love is destroying them, and I know a thing or two about destruction. Tikki: (sighs heavily) What can we do? Plagg: We must free them of that impossible choice. We must… free them of us.

This is the voice of the author telling you that outing the identities is not and never will be a good choice for the love square. Never mind that Alya is allowed to know Marinette's identity or that Gabriel finding out is what actually ended the world in the alternate timelines or that Felix outted himself in public but is still wielding or that freaking Gabriel was allowed to know half of the temp heroes' identities while they were still actively wielding. For some reason, those things don't matter to the narrative, probably because romantic love wasn't involved. The "identity reveals are a bad thing" rule only seems to apply when romantic love is a key element to the point where it's a reoccurring theme in this supposed power of love show.