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mamayura · 24 hours ago

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Adrien not knowing what he wants

Hot take about Werepapas, I guess:

I actually like that Adrien said "I don't know" when asked what he wants/ who he wants to go with at the end of "Werepapas"

Cause the people who had to learn and come around in this episode's conflict were the ADULTS, not Adrien.

Adrien has already said that he isn't alone, he's living with Nathalie,

and Milly, too, acknowledged right away that Adrien has known her for most of his life so for Adrien she should count as more much than just an employee by now.

And he has not been trying to hide it whatsoever from Nathalie how much she means to him and that he wants to keep living with her. Literally the first thing we see in the episode's present time is Adrien running to Nathalie for comfort when hes crying over his dead mom, but she's pulling back so he does too eventually.

Marinette as pretty much unrelated main character doesnt know about this when she enters the conflict. Hence why she can effectively bring about development in Nathalie by challenging her long-established mind set and dynamic with Adrien due to Marinette's perspective adding a new angle and shacking things up:

Nathalie's inner conflict is one of my favourite things about the episode (and needs its own post if I get around to it), but for the context of this post, yes, she was the one who needed to come around. Not Adrien. He was already there from the get-go as we can see by him repeating the hug he started the episode with. Just now, Nathalie hugged back:

It was nice seeing Marinette help Nathalie take on her role in the end because Nathalie did the same thing Marinette did in Illustrhater for example. Acting like and saying things that eventually made Adrien accept that they don't want to be with him because, duh, that's now interactions work.

That's why he initially didn't say that he wants to stay with Nathalie in Paris when asked in the end. Nathalie too made him feel like he has to accept that that won't be an option, so he knew he had to decide between his grandparents:

The same Grandparents who had to come around in the end, too, and allow for Adrien to stay with Nathalie in Paris, even though both pairs of Grandparents are still the ones to officially hold the legal custody of Adrien (which I'm glad about that they did it like this and didn't bullshit some reason for Nathalie to get custody cause the episode is right, Nathalie has NO right to Adrien's custody whatsoever. They went with a very reasonable way to resolve this)

Its the ADULTS who had to come around. Not Adrien. Adrien already made it clear all episode what he wanted. But because all involved adults declared the outcome he wanted as a non-option, well, he honestly says that he doesn't know what else he wants (who he wants to go with).

And I- I just really like that Adrien was taking the situation serious enough to say "I don't know". That was very mature of him. To not just go with SOMETHING or go on about how unfair the situation is. Cause it definitely was, but this is a very serious legal matter that COULDN'T stay unresolved. He's an orphaned minor currently living alone with a person who's said to neither be an option as his guardian nor does she herself treat it like an option. This day COULDN'T end without at least some kind of temporary solution where he would stay now. It just couldn't.

I LIKE that he didn't repeat his denied desire that was already known to everyone around and instead seriously thought about the options he had.

I like that he loves and respects Nathalie enough to be the one person amongst Emilie, Gabriel, and now Marinette, too, who left the decision to HER if she wants to take on the position of his new mother:

As much as he wants to be with her, Adrien was characterized to understand that this is a massive thing to ask of Nathalie. He knows he means alot to her too but Nathalie was, by all accounts, objectively forced into this:

But especially by Emilie (look, I know she was literally dying slowly and painfully, I'm not judging her for wanting Adrien to be loved and taken care of. But I gotta ackowlegde that Emilie put alot on Nathalie without giving her a choice first):

In that regard I can't fault Nathalie for not having acted on her motherly feelings for Adrien and Emilie's last wish earlier than s5 (but God DAMN Nathalie, there is a difference between not doing it and actively making everything so much fucking worse!).

Adrien is the one person in this who respected how much was asked of Nathalie, so when she continuously acted like she didn't wanted to take on the role, he respected that. But this also means that the person who's responsible for Adrien coming to this "wrong" conclusion was Nathalie. Not Adrien. He's only acting accordingly to her actions and words:

So I like that Marinette got to help her in the end, because this is passive development that's very relevant to Marinette's character too. Even if I wished the show would hold Marinette to the same standards since both in Adrinette and especially Ladynoir Adrien gets mostly blamed for coming to the logical conclusions that Maribug doesn't like him or being with him in any way doesn't mean much to her because that's how she constantly acts like in almost every conflict ever. Over and over again. So I like that it was done properly this time around even if it's obvious that that was only possible because it was Nathalie and not Marinette.

And yes, I totally get not liking that Marinette is taking over the whole moment again. I'm not much of a fan of it either, to put it nicely. But it is wrong to say that Marinette is the one making the decision here and Adrien had no agency in deciding who he's staying with. Marinette is merely repeating old news she knows are true because that's what Adrien has been saying and acting like the whole episode and even already since season 5.

The decision was long made by Adrien. It were the adults who had to come around.

And beyond that,

I LIKE that Adrien said "I don't know" to the question which grandparents he wants to go with instead of the show having him make it all about his friends, girlfriend, or Ladybug. He only brings that up when he gets to stay:

Cause the question of where he would feel more at home and what is best for his future, when he has to completely start anew, is not just about his current friends, girlfriend, or his secret hero partner (who has made every precaution and decision possible to not actually have or need him in her life and job and he was made to accept that fully because that's her "rightful professionalism" same as killing your bf Ig)

I like that it was "I don't know" instead of "but my friends!", "but my girlfriend!", or "but I can't leave!".

Adrien saying "I don't know" means he thought of himself first and foremost and not everyone else:

I even like that "I don't know" means that he took the Graham de Vanilys into consideration despite how awful Emil was. Cause when the outcome Adrien WANTED (keeping his life in Paris by living with Nathalie) isn't an option, then he's perfectly in his right to not write off the possibilities he has with the Graham de Vanilys in London (and good heavens, I'm glad nothing ever brought up "but Chloé is in London! YIKES!").

I like that Adrien didnt write anything off when the decision was possibly about to change his whole future. Yes, saying "I dont know what I want" is a perfectly valid and even mature answer for a 14 year old orphan to give when they were JUST this day confronted with this situation that denied him the option he actually wanted:

And I also like that Marinette in the end didn't wasnt made to make Adrien's answer about herself in an usual moment of panic (in general, I truly LOVED how supportive Marinette was in Werepapas, even if the akuma battle incident is forever burnt in my love square heart in a very negative way. Yes, I think being willing to kill your boyfriend without trying any other solution first is bad, sue me ig. if that's what I'll be judged for, then I can live with it).

It is a far cry from Marinette in Representation for example being mostly written to make not getting to have her boyfriend near her out to be the biggest tragedy of Adrien being send to another country for good. I'm glad she got to be the supportive girlfriend for once instead of the show forcibly trying to falsely make her out to be the most important person affected by Adrien's tragic life. It was so refreshing and wonderful to watch Marinette getting to be in the lovingly supporting role of the relationship for a change, and it does WONDERS for her characterization.

While, of course, Marinette was motivated all episode to help Adrien not having to leave, when Adrien said "I don't know" Marinette knew that he's only taking the other options this seriously now because he can't have the option he actually wants.

She wasn't written to go into panic mode the second she heard Adrien NOT saying that staying in Paris is the most important thing on his mind. She knew the problem was laying elsewhere, even if I wished she hadnt made it abuut the Grandparents, but Adrien's right to CHOOSE (and yes, I'm fully aware that people will write this whole post off as salt because I didnt ignore or handwave away Marinette's consistent CANON characterization, even though that's not how salt works. I stand to what I said. More of Marinette as supportive girlfriend please, then we wouldnt have these problems)

I don't know how to end this with a nice little bow to wrap it up. I just REALLY like that Adrien said "I don't know", and how the episode treated the custody conflict for 95% of the plot which is very good for Miraculous.

#ml spoilers #miraculous ladybug #ml season 6 #ml werepapas #adrien agreste #nathalie sancoeur #Adrien and Nathalie #Marinette got some wondeful characterization in this episode #Please dont believe I dont think thats true #but because I know her fans #Marinette critical #to be sure #Cause I didnt wanted to talk about his whole situation and Marinettes involvement #While not stating my opinion on how Marinettes OVERALL writing in the show so far plays into this #Shes the main character and I'll treat her like it #There was so much AMAZING Marinette characterization in this episode due to her being in the supporting role for once #and that does wonders for her character #I just dont see how keeping quiet about her overall relevant writing has any use

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guild-guardian · 6 years ago

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Spoiler Free review of “All or Nothing”

After a cut because long post, many words, skritt math.

The Story (No details)

Overall it's probably one of the best executed episodes worth of story that they’ve released in the last couple of Seasons.

The Final Battle is more akin to the kind of scale you see in the Zorah Magdaros battle in Monster Hunter World than you’d expect to find in GW2, and that was a huge improvement compared to previous Elder Dragon battles. Having an active role in the battle, along with the NPCs not just “swinging their sword Oh look they swung it again” at trash mobs, and actually being useful- firing siege weapons, fighting mobs, picking you up if you get downed

So many call backs to minor named NPCs- some personal early personal story, and others from pact/priory/vigil etc It lead to a feeling of being surrounded by familiar faces as you lead the charge. The short piece after the battle was also a well designed experience- the lack of UI and the “damage” lines that you felt when Balthazar killed you in PoF, further push the “oh fuck we’re pretty badly wounded”, along with the forced walk/limp and fall to our knees when we try to hop down along the uneven floor. The main character’s animation here was excellent and slow pace allowed Anet to sculpt a tightly designed experience that is as shocking as it is memorable. I won’t forget that last visual.

Brandon Bales and Debi Derryberry probably did the best voice work in this episode (imo- I haven't played it through on a non-sylvari male). It was extremely immersive and I totally bought what was happening as they expressed it. I appreciated that the Zephyrites’ song/choir got further development, and how its relevant to the story just made it a really nice touch overall.

I did think it felt very short- only 3 instances. It may be that they pushed the pacing to emphasise the commander rushing headlong and gambling dangerously on the first ideas that come to them, and they do love a cliffhanger at the end. It ends on a flat note though, you can’t even interact with story NPCs after you finish it- nothing in the shiverpeaks map changes, no dialogue no “I’m just checking in” updates, nothing. Final Note: WHERE ARE KASMEER AND MARJORY

The Map

Huge! Ruins! Subterranean structures! Exploring! Absolutely nailed the Guild Wars 1 Shiverpeak atmosphere.but uh...not much to do past that.

The Thunderhead Keep meta is fun- I love defense events that allow us to set traps, build barricades and ballistae. The Boss is TOO BRIGHT. It is impossible to see even with effects turned down and post processing off. Anet needs to reassess their priorities with visual telegraphing because right now you can’t see a thing, never mind reacting to the thing.

Minor Quibble. UH WHERE DID THAT CLIFF AND PIT COME FROM? I’m pretty sure that the mountains just...continued north of the keep in GW1, and a little further north you’d come to the Mursaat teleporter to Hell’s Precipice.

The dredge meta is...hard to get people to defend the 2nd and 3rd drills- I’ve yet to be successful on this one.

The delay between meta active times feels a bit long, and perhaps its just the layout of this one, but there isn’t much notification if North or south meta is happening/how long until X etc.

I don’t like that Map Completion can’t be soloed- Both metas are required. Unless you find a friendly mesmer or buy the Light of Deldrimor from the TP.

Past the Metas, I’ve seen maybe 5 or 6 events tops on this huge environment. That is pretty woeful. I get that this was probably a high budget episode with two cutscenes, unique character animations and PvE environments built to scale with the GW1 counterparts (why did dwarves build so big anyway?), but the overall quiet map is a bit of a let down- considering the variety of content available in Jahai.

I adore the skritt/priory interactions, and an above ground village of Dredge being shown in in a positive light. Even if literally every member of the survivors has had to kill their friends and family with their own hands.

The Mastery

Heavily Situational and will take some getting used to. It doesn’t have that immediate “Good Feel” as mounting your griffon midair or while gliding. Being “animation locked” for most of the launch prevents you from gliding or re-mounting, so you just plummet for the most part and lose out on any air you might have hoped to gain from using it.

At least we can be thankful it wasn’t required to complete the story or meta.

The Fractal

Dreams: Crushed Hopes: Sundered Orr: Ignored. Instead of picking an interesting pirate/corsair character that could use a bit of story development, they go with the boisterous ghost from the Lion’s Arch Jumping Puzzle.

This fractal is short (at T1- it’ll likely have more complexity as you go up) and very sparse on story. The music is good, and the environment is good. Dessa continues to be the shining star of most fractals with her responses to the situations she gets to observe. Probably won't be the new Challenge mode fractal that people were hoping for, but the fight mechanics are fun and different.

I’d appreciate it if Anet could relinquish their choke grip they’ve had on talk like a pirate day 2012 that seems to permeate all of their pirate related content- it always feels kind of like even the characters themselves don’t take themselves seriously. There's just something pretty wack with them. (and I’m not talking about all the landlocked core game pirates just living in lakes barely big enough for their bases) That’s Enough.

The Legendary

Probably one of the nicest they’ve done in a while. Initially I was put off by it- the official preview of it in the reveal trailer didn’t really show it off very well- not the steps, aura or on-draw effect. However on this video from someone who got it before release, they point out a few things about it that really sell it for me.

I love the scorch mark on draw, with the dubstep twangs the most. A little disappointed that Range LB 5 is unaffected- it could have been very pretty (ie spirit bow active visuals). It's a very refined weapon that will certainly suit a lot more characters than Kudzu, and I’ll probably make it after I finish Ipos. In like a year.

The Music

Knocks itself out of the park in a home run touchdown or however sports works. The choral piece for Aurene is very beautiful, and I especially appreciate the tarir motif used towards to the end of the track. Re-used GW1 themes in the map give a very nostalgic feel, and the fractal has a unique Shanty theme, along with what was used for this year’s Festival of the Four winds.

OVERALL SCORE 7.5/10

The story is moving and immersive, the encounters well designed and well executed, however sparse event placement on the map kinda gets :/ from me.

Fractals continuing a trend of “we can do anything in the history of tyria- but lets focus on the boring parts” is also disappointing.

PS. The .5 comes from the Skritt writing and voice acting. So pure and wholesome.

#Guild Wars 2 #GW2 #Living World Season 4 #No spoiler review #my two coppers

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claeriekavanaugh · 7 years ago

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Intro: What is your name, what do you write, and where can readers find you on social media? And just for fun, if you could be any mythical being or creature, who or what would you be?

Hello, I’m M. K. Wiseman and I’ve found my groove penning YA historical fantasy (a short hop over from my steampunk entry into the publishing world.) Social-wise, I positively live over on Twitter but also have more recently discovered the fun that is Instagram and Pinterest. My handle on all three is @FaublesFables – come say “hi!”

As for a mythical being or creature: dragon all the way! (Closer to the Japanese concept of the beast, however, than the European idea.)

In the past, you’ve written steampunk and your most recent release is a Christian fantasy. Which do you like more and what drew you to each genre?

The kind of historical fantasy I write and steampunk are, for me, sort of one and the same…? (Is that a cheat answer?) Clearing that up a bit: for my fantasies, I simply adore writing from the corner where the premise is that maybe maybe history, as written, has simply erased the magical side of the story. That’s a pretty ‘steampunk’ way to see things, I think. Overall, what I write is largely similar in flavor due to it coming from ‘reader me’ + my particular world view. I like to read “clean” fiction—a.k.a. anything 9-year-old me would have read without blushing. And a part of me has always burned with the desire to use my writing to do “good” in the world.

More pointedly to your question, the Christian fantasy genre is an interesting demographic of stories. It’s a very wide, if sometimes very specific, genre. For example, in “Bookminder” there is no Christ allegory (a la C. S. Lewis’s Narnia books.) But I have made a concentrated effort to put a Catholic priest as a character in books 1 and 2 of the trilogy, simply because that is a part of my life and I want it “in” my world building—specifically as the story occurs in a real time and place where religion would have impacted the lives of wizards such as Nagarath and Liara.

YA is such a wide-open category. What type of YA do you enjoy the most and why?

I love good, clean, (old fashioned?) YA fantasy. Give me a story between 80-120K words where I can escape from Here and Now but still get a relevant message to take “home” with me when I close the cover and I am so there. I prefer an omni narrator. (Yep, this reader is out of fashion and I don’t care!) I like puzzles, riddles, and songs so long as they aren’t ‘check the box’ included into the story. Also, I want a magic system that checks out. (Tolkien, you get a ‘Pass’ on this last, because you are a class unto yourself).

Le Guin’s Earthsea books, L’Engle’s Wrinkle in Time, any of Brian Jacques’ Redwall stories—all are swoon-worthy reads over and over for me.

Do you find there are central themes or elements that are unique to your books? (For example, are you drawn to anti-heroes, antagonists, certain settings etc.) Why do those things stand out to you?

Character-wise, I absolutely adore a broken hero. I still wish Hamlet had found a happy end, you know? (Watch this space, wink wink.)

But, per my love of alternate history or, more specifically, ‘hidden histories,’ I really like to write about places you can actually go visit. Which makes research a beast, more often than not. The moon phases in The Bookminder? They’re accurate as I can make them. My Google search history is the typical author landmine of discovery to the unwary.

What inspired your book?

In 2004 I just so happened to have a very vivid splash of a dream. Just one scene. Short, but poignant and mysterious. I was recovering from a major surgery at that time, so I had a lot of down time to ponder a.) who the girl was in my dream, b.) what she was doing . . . Something clicked in my head as “this is important” and that’s essentially where I began writing The Bookminder from. Just one little scene; one odd thought. The “books/library” through line actually comes from my job in collection preservation at the time. The real history and places all crept in later.

What is the book about?

Ah, The Question; every author’s nightmare. (Does it show that I am currently working on cover copy for the blurb of Book 2?) Totally kidding, here goes:

The Bookminder is, at its heart, the story of Liara of Dvigrad (town in 17th century Istria) who was conceived via magick when the town is attacked, casualty of a larger conflict. Nearly 17 years later, she’s kicked out of the village (ostensibly for thieving but actually due to her magickal tendencies) and immediately takes up with the local wizard, Nagarath. He, of course, has publicly promised not to apprentice her—having reasons of his own for such an edict. Needless to say, this does not sit well with Liara and, well, the rest you just have to read for yourself, yes?

What are the characters like?

I’ve had folks say Liara acts every inch a petulant teenager. To which I say “thank you!” Because she absolutely is. And she believes herself entitled to all the grand plans she’s formed in her head.

In contrast, we have Nagarath. Self-hermited away to the quiet Limska Draga valley, he just wants to retire (at the grand old age of 28) in peace and work whatever magicks he feels like doing at whatever pace he wants. He is, in effect, hiding from the world that Liara wants to conquer. And he’s a huge bookworm. And a bit absentminded.

These two . . . I’m still not sure if I intended for them to drive each other bonkers but I have grand fun orchestrating their interactions. In the end, each is quite good for the other, though.

What is/are one or two pieces of advice that you learned from publishing your earlier books that you wish you had known before you started?

Editing is hard. Don’t fall in love with your words, a specific turn of phrase here and there. But absolutely fight for what you know deep down you must keep. The give and take line? Where that lies is a bit tougher to explain. It’s an instinct you develop, especially if you’re lucky enough to work with the same team each time around.

Publishing is a long game. Years. Thousands upon thousands of words—many of which get tossed in the putting-to-print of the “good stuff” (see editing comment above). You hear it over and over, come in prepared for the long haul and yet it still comes as a surprise how long things can take.

Traditional or self-publishing? Why?

For me, traditional. I’ve landed with an exceptional publisher who has great instinct and wonderful folks. They get me out of my head when I’m too close to a project, something I’d have a hard time doing on my own. And, on my gosh, considering how much non-writing takes up my time already, I’d not want to have more on my plate. But I know both are great options for authors. The benefits and drawbacks of each are really dependent on one’s work style/process.

What do you think authors can do to help make editors and publishers interested in their manuscripts?

Keep writing. Don’t rush it. Be patient with your story. Your characters are people, treat them as such. (Okay, that is quite possibly the oddest thing I have said with regards writing. You’re welcome?) Be authentic. Be available. Be open to critique but also have that backbone when your instinct kicks in. Gosh this is getting advice-y, isn’t it? But I cannot leave off without adding: Read. Read widely.

This is random but fun one, if you could pick any time period to live in, when would you live and why?

This is actually a tough question because I tend to be hyper practical when it comes to such things. (And am a Whovian who has dreamed widely on this very topic.) While living further back in time would be interesting, I don’t know how I’d do without indoor plumbing at the least. I’ve said recently that far far distant future might be interesting. Kinda goes with my tendency to read ahead.

What is one book you think every YA writer should read at least once?

I’d say Katherine Paterson’s “Bridge to Terabithia” is a must.

If you can read it young, let it sit for years and then go back to it, even better!

Thanks for the great interview M.K! Check out her books and don’t forget to say hi on Twitter, Instagram, and Pinterest @FaublesFables!

If you liked this post, please scroll to the top of the page and type in your email to follow my blog and get an update every time I post new content. I have authors of all genres coming on my blog to interview in the coming weeks! Don’t miss it!

As always, keep making magic, word weavers!