#I’ve figured everything from story arcs to the ending

[i-really-like-phrogs]

A small Movie Lydia for Your viewing pleasure

[immaturityofthomasastruc]

EVEN MORE SPOILERS FOR SEASON 6

I figured since I already read it, I'd give my thoughts on the recent interview Astruc and Thibaudeau took part in.

Due to incompatibility with the new animation engine, SAMG will not be working on the next seasons of ‘Miraculous’. The series is now being developed entirely in France, with the integration of Dwarf Animation.

Okay, props for no more outsourcing, even if I'm not sure what this means for the other ZAG shows.

Season 6 is considered to be “a new beginning”, aside from being a new story arc. It is sometimes referred to by the writers as Season 1.

I'm sure that isn't confusing to the executives at all. Also, maybe don't imply you're starting from scratch when you're already reusing the plot of the main villain using the Butterfly Miraculous.

The writing team already has concrete ideas for how Seasons 7, 8 and 9 will begin and end. They also have ambitions to make it to a Season 12, only if the support of viewers and executives allows them to do so. With this, they emphasize the fact that they would not continue with the show if it were no longer needed or interesting.

So basically, they're planning to keep this up for as long as they can until someone pulls the plug.

The opening of the sixth season is still undecided. They are still discussing whether they will change the musical arrangement or not. Thomas also considers the possibility of making a brand-new theme song. A song has been confirmed for S6. They have the music, the arrangement and a female singer. The character remains unknown.

Imagine how funny it would be if they brought back the woman who sang for Marinette in the movie instead of having Cristina Vee sing again.

Despite leaving Paris at the end of ‘Revolution’ (5x23), Chloé Bourgeois will return in Season 6.

Putting aside all the things I've said about her "damnation arc", what is even the point of bringing her back at this point? She has no powers, no influence, no allies, and isn't a threat of any kind. This makes her not being the next Hawkmoth make even less sense, becuse she has more of a reason to hate Ladybug than Lila does.

Also, with the news that Chloe is coming back, this means that she essentially escaped punishment or at least found a way to rebound like Lila did. So that's a grand total of ZERO villains who actually got punished for their actions after five seasons. I'm starting to think Ladybug and Cat Noir really suck at their jobs.

Sebastien Thibadeau: “[Cerise] (IOTA: I'm still calling her Lila for simplicity's sake) is a villain without costume. She is a villain all the time. There is a reason why, but this reason, neither I nor Astruc will reveal to you yet.” Interviewer: “You mean you already intend to tell it?” Thomas Astruc: “Yes. And you know what, we have already told it, but you haven’t noticed.”

Translation: Ladies and gentlemen, LET'S GET READY FOR RETCOOOOOONNNNS!

Seriously, we are approaching the sixth season of this show. It has been eight years since Lila first appeared all the way back in "Volpina", and we still know nothing about her other than the fact that she has some three moms for some reason. You can't pull the whole "This is something you need to rewatch to understand!" excuse because the last two seasons hinged on breaking the rules about Sentimonsters.

Speaking of, I love how this comment about Lila accidentally implies that Gabriel never did anything evil when he wasn't Hawkmoth/Shadowmoth/Monarch. All that emotional abuse and isolation Adrien suffered was all out of love!

Thomas Astruc on Chloe redemption arc: “We put the characters in situations, and then we say to ourselves: “what would be the logic?” How would the character logically react in “such and such” a situation? And we tried, we tried everything. But every time, we say to ourselves: “if we write this, it’ll be wrong”. There’ll be no reason, it’ll come out of nowhere, the fact that she’ll face something nice and say: “Oh, I’ve been horrible, Marinette what have I done! From now on, I’ll be...” No, nonsense. I understand people’s desire for Chloe to be nice. I’d like that too. But I’d like it if in real life, people with a lot of power suddenly started doing nice things. But Chloé has no interest in changing. She has no reason to change, unfortunately.”

Ah, yes because Gabriel (Global terrorist and abusive parent), Felix (Betrayed Ladybug and temporarily wiped out all of humanity on a whim), Nathalie (Willing accomplice to Gabriel) Andre (corrupt politician and Chloe's primary enabler), Sabrina (Willing accomplice to Chloe) all had compelling reasons to change their ways.

Also, "I've been horrible, what have I done?"

MY BROTHER IN CHRIST, THAT'S HOW VIRTUALLY EVERY REDEMPTION ON THIS SHOW IS EXECUTED.

The fact that he's seriously acting like he actually wanted to write a redemption arc is insulting. Not only does it ignore all the things he's said to fans who were upset at the turn of events, but it makes no sense for him to take this stance because he's a writer. If Chloe turning a new leaf is too strange of an idea, then write an actual character arc allowing her to progress to a state where she recognizes what she's done is wrong. You control the character for God's sake! It's not like you're training a dog to stop humping the couch. You can change things to make a redemption arc possible.

In other words, Astruc is either lying to save his ass, or THIS IS WHAT THOMAS ASTRUC ACTUALLY BELIEVES about writing characters.

Sebastien Thibadeau talks about Andre's character development: In contrast to Chloe, “Andre Bourgeois evolved as a character because we had already imagined a back story. He had the potential to change, and that’s where the beautiful scene comes from — I think it’s magnificent — between Gabriel and himself on the roof of the Grand Palace, where he says: “But Gabriel, what’s become of us? We’ve forgotten the kids we used to be”. But we [writers] know what kids they used to be, and we’d like to tell the story one day, to show what young kids they were, when they were struggling through Paris and weren’t yet what you’ve come to know in the series. He’s sad about what’s happening to his daughter [Chloe], and he’s trying to change it, but he can’t. He is proof that a character can change.”

This. This right here is what cinched it for me. I've tried for years not to say it because it's a word that has been flung around a lot over these last few years, but I feel like this little snippet is enough of a reason for me to say it.

These writers are sexist.

They may not believe it, but whether they intended for it or not, they wrote a story arc where a grown man was shown to have more sympathetic qualities than his daughter. How the hell can you defend it in a way that doesn't highlight the misogyny that this show runs on?

The fact that they gush over how much "potential" Andre had right after saying how that same kind of potential wasn't enough of a reason to attempt a redemption arc with Chloe really shows how confusing their priorities are. I'm sorry to keep saying this, but for a show that takes a heavy anti-capitalist philosophy, it seems like the members of the 1% are the characters who get the most depth and sympathy... unless you're under 18 and lack a Y chromosome, that is.

A meeting will be set up in the coming weeks to decide on whether or not to make a live-action for ‘Miraculous’, Thomas Astruc reveals.

As a former Arrowverse fan, I'm willing to see this out. Not only did the Netflix One Piece series prove you can make an animated property work in live-action, Ladybug & Cat Noir: The Movie managed to do really well even without the usual writers behind it.

Thomas when asked about Gabriel’s wish in ‘Re-Creation’ (5x26) and whether he brought Emilie back to life: “All the answers are in the episode.”

For the love of--STOP SAYING THAT!

You keep claiming that we just need to rewatch the episode to understand things, but between the continuity errors and abandoned subplots, it's hard to tell what's important and what isn't. Either say "No comment" or give us an honest answer.

If people are still confused about how the season ended after almost a year, and you keep giving answers like this:

Maybe you need to change the way you tell the story.

Astruc when asked about ‘The Supreme’: “Oh, if only you knew... Nothing we do is meaningless.”

Sebastien Thibadeau on Season 7: “Once you’ve seen the start of season 7, I can swear you’ll watch season 6 a second time. That’s all I can say.”

Because it'll make Season 6 look like a masterpiece by comparison?

Thomas Astruc on the worldbuilding: There are Kwamis and Renlings, what makes you think there aren’t others [creatures]?

I swear, by the time we get to Season 10, we're going to get stuff like aliens, demons and talking mushrooms, or at least something ludicrous like that.

Zoe had a love at first sight when she met Marinette in ‘Sole Crusher’ (4x07), they confirm.

Of course! That's why it wasn't framed any differently from something like the umbrella scene and Zoe showed absolutely no signs of attraction to Marinette! It's genius!

Executives had Thomas write several alternative concepts for ‘Miraculous’, very different from what we know today or even the early PV. Among them, “a concept where Ladybug is the head of a group of superheroines, like Sailor Moon. There was no love story.”

Can you imagine a world without the Love Square?

The script writers’ favorite episode is ‘Simpleman’ (4x19) as it represents a personal, work and family attachment. Marinette’s grandfather, Roland Dupain, is inspired by Thomas Astruc’s grandfather.

Okay, either Astruc had a complicated relationship with his grandpa or he's been dead for years. While I understand that older generations have outdated views (for example, my great-grandmother yelled at me for saying I wanted to learn Japanese because "They tried to kill us!"), the fact that a caricture of a grumpy old man was based on his grandpa is a little concerning.

Also, between this and Sabine being based off an old flame of his, this only makes the theory that Chloe is based off a real person Astruc knew more plausible.

Astruc: “This is why our work is so difficult. We have to manage to bring in this generation of younger ones, and at the same time, we have to satisfy the generation that was here before and that grows with the series.”

First, if you're trying to please older fans, maybe don't get into fights with them on Twitter.

Second, you made a thread after "Simpleman" aired where you insulted fans for not getting the "meta" element to the episode and compared them to the character you just said was based on your grandfather.

You've also been burning away a lot of the older fans' goodwill over the years. Trust me, I have a few examples.

Despite sharing a similar appearance, the symbol on Nino’s T-shirt is not related to Hack-San.

Okay, is this a fan theory I missed back when Season 4 was airing? Why would anyone draw that conclusion?

Thomas Astruc talks about Season 6: “I’ll say it sincerely, I was very doubtful at the end of Season 5. I said to myself: “if we were to continue, how would we exceed?” Well, we did. It’s been a great season. The new writers have brought us a lot of great stuff. All the episodes we’ve written in Season 6 are fabulous. Each episode is on point, there is no unnecessary lines. All the scenes are really interesting, really well-crafted.”

Translation: Tons of filler, bad comedy, reused Akumas, and more Love Square drama that we're trying to claim hasn't been done before.

Thomas when asked if Marinette will get akumatized: “We never give any information about what may or may not happen.”

JUST. SAY. NO. COMMENT.

There are many important details throughout the series that no one has noticed. Thomas says that when we see the next seasons, we’ll think, “Oh, the writers had it all planned.”

You know, like how Season 3 established that Sentimonsters can be sent out of control by Cataclysm a few episodes before Adrien, a Sentimonster, gets hit by a Cataclysm and is affected in a different way. It was all planned from the beginning.

The Ladybug PV was an animation test and was not intended to be public. Jeremy Zag decided to leak it himself.

Honestly? Dick move on Zag's part. You have to wonder how pissed off Astruc was.

According to Thomas Astruc, what the ‘Miraculous’ series is today represents only 5% of what he wrote in the original bible he presented to Jeremy Zag. “The universe has evolved a lot since. I don’t know if the ideas I put there will be reused someday. It was very extensive.”

Thomas Astruc and Sebastien Thibadeau discuss the parallels between Marinette and Gabriel: Astruc: “Gabriel’s personal back story is the cause of his misery, not his will. And above all, it creates a beautiful mirror with Marinette, which is what’s interesting. They both have a lot of love for Adrien, they’re both designers, they both have a Miraculous, but it’s other choices.” Thibadeau: “That’s what makes it a great hero-villain contrast. Even if they don’t know it from the start, they have a real point in common. As we see at the end of Season 5, they both love Adrien. Except there’s one who does it by doing the right thing, and then there’s another who does it by doing the wrong thing, hurting people, to get there.”

And the one who did the wrong thing by hurting people ended up winning. What does that say about the contrast?

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

And that's it for the interview. I have to say Season 6 does not look pretty so far.

[writingquestionsanswered]

Hello!! As a new year's resolution, I wanted to write a novel. It's March and I'm realizing I'm not sure what I'm doing. I'm pretty new to writing. I went from writing up to 7,500 word fanfics, to trying to get around 10x that for this novel. Any general tips? I struggle with spacing out the story correctly.

Writing a First Novel

Here are some previous posts that should help! ♥

Literary Fiction vs Genre Fiction Plot Driven vs Character Driven Stories Understanding Goals and Conflict Guide: Starting a New (Long Fiction) Story Figuring Out You Story’s Literary Themes Guide: How to Outline a Plot Creating a Detailed Story Outline Basic Story Structure Beginning a New Story How to Move a Story Forward Choosing a Point-of-View Figuring Out Where to Start a Story Making a Timeline for Your Story The Main Timeline, Back Story, and the Prologue Story Arc (Main Plot) vs Subplot Guide: How to Skip Time in Your Story Outlining a Chapter by Outlining Scenes Scenes, Chapters, and How to End Them Subtle Scene Transitions How to Use Scene Breaks Balancing Dialogue with Exposition and Action Exposition, Action, and Dialogue, and How to Pace Your Story Slowing the Pace within a Chapter Pacing Feels Too Fast Dropping Hints without Giving Everything Away How to Increase Word Count (Meaningfully!) Hinting vs Foreshadowing (And How to Figure Out What Hints to Drop) Foreshadowing (and Hinting) without Being Obvious The 3 Fundamental Truths of Description Weaving Details into the Story

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[o-wild-west-wind]

okay, here’s my actual thoughtful post: I get why people are upset about the finale…I really do. but I want to mention that there’s a bigger picture to this story that’s missing if you’re zooming too close onto Izzy as a character, and I’m honestly so grateful that the show stuck to the thematic arc it introduced in season 1 because, as per usual, it’s about the themes 🤌 and this show never skimps on the symbolism!!

so here’s the thing: the primary themes are toxic masculinity (& it’s opposite, queer joy); trauma; love as a healing force for the above; and, title alert—DEATH. because it’s so much more than a cool title!

now, Izzy has always represented something metaphorical about all of these points; most directly, he’s always represented masculinity, and s2 has been an arc of toxicity deconstruction. but crucially, he’s also represented all that for Ed, who is the deuteragonist of this show. because—don’t forget—Stede and Ed are the show.

I’ve always doubted myself for feeling this after seeing how fandom saw Izzy as a third romantic figure (which like by all means have a blast in your fanfics I don’t care it’s about joy at the end of the day and pursue that as you want to), but after hearing something about djenks referring to Izzy as a father figure, it confirms a major point for me—Izzy is also in a lot of ways a parallel to Ed’s dad, and a representation of the trauma and guilt Ed felt from that formative killing. for so long, Izzy was an aggressive shadow in Ed’s life, and a tangible reminder of those daddy issues—someone telling him what to do, keeping him Blackbeard—and the beautiful thing is how that changed this season, how Izzy became a version of masculinity that could love and be beautiful and make good from the hurt, the literal poison into positivity. someone antithetical to his own paternalistic force, healing our daddy issues one drag show at a time. BUT, Izzy is still thematically representative within Ed’s arc—and by also representing the trauma that made Ed “Blackbeard,” it does make smart writing sense as to why Izzy died (NOT saying you can’t be sad about it—stick with me for a moment).

because here’s the thing—as aforementioned, this show is also about DEATH. killing is the root of everyone’s trauma, and reconciling a relationship with death is the ultimate arc Ed and Stede are both on, with the ultimate path of learning to live despite its inevitability. there’s a reason it was such a huge thing that Ed couldn’t personally kill, and then in this episode killed so many people with his bare hands in the name of love—and there’s a reason that was framed as a good thing. and there’s also Ed’s (and arguably Stede’s) active suicidality, which has been a huge force driving this season. these are characters who see death as this all-consuming thing, and they see their own deaths as the only solution. death is the traumatic force driving almost everything about their being for so long—and its reconciliation is everything for them, the greatest sign of growth. so Izzy’s death, and everyone beginning again with love—healing each other with love—is a cap to it all. it’s death as a positive force, for once. it’s death as love, not trauma. it’s death as something that will always happen, but this time not forced by your own hand. it’s a death to everything toxic, to what “Blackbeard” represented, and all the while a sort of rebirth. it’s kind of a death to…death? it’s functionally like the real physical moon replacing the giant romantic imaginary orb: it’s taking the thing that’s been artificially morphed in Stede and Ed’s heads and making it real this time, with all the bittersweet emotions that come with tangible reality.

and honestly, I’m glad that it was tragic and emotional. I didn’t think I’d be so devastated to see Izzy die, but it really did get to me, especially because of everything he said to Ricky and then to Ed. but think of it this way: Izzy and Ed might be romantically compelling because they were toxic and charged (and I hope people still enjoy everything they get from that dynamic in fan work), but imagine if the show had actually gone in that direction—where would it take us thematically? it would kill the thesis; it would be love as chaos and entertainment, but not healing. instead, this show gave us something so much more powerful: a legitimate, fully-fleshed trauma arc.

trauma hurts. Izzy’s death hurts. but that’s okay. that’s great, actually! it means the storytelling was effective—that Izzy’s arc made you feel something. and i know this won’t be every viewer’s experience, but honestly? I’m glad I can have this grieving process in such a beautifully framed light in the safe space ship of this show, because let’s be real—death, real life death, fucks you up. and let me tell you, I could’ve used this show during so many episodes of grief in my life. but here it is now, reminding us that our grief and trauma doesn’t define us—and WHAT a powerful thing for queer love, especially, to be presented as the thing that heals us all. ESPECIALLY when so much grief and death in this community is woven so deeply with the trauma of our identity.

so grieve as you need to, but don’t forget to turn the poison into positivity 💛 because that’s what the show is telling us—choose live, despite!

[amongemeraldclouds]

better than revenge | alt chapter: one last cigarette

Toxic!Ex!Mattheo Riddle x f!Reader

Chapter summary: Just when you were ready to leave the past behind, the very person you're trying to escape shows up. 949 words.

Author’s note: Final upload for this series! Wrote this back in March, but it took me forever to post because it's hard to officially say goodbye to the series but here we are.

This chapter is not canon. The main story line officially ended with the previous chapter. This one is just an alternate ending I wrote when I was trying to figure out what to do with Mattheo’s story arc and I like how it turned out. Ex!Mattheo isn’t very popular in this story and for good reason. In the end, I couldn’t write this ending without him being toxic!Mattheo so be warned.

This chapter contains angst and a bit of angry sex so 18+ only below the cut. It was hard writing this because the tone has been mostly fluff, but you can’t really have an ex!story without the heartbreak.

series masterlist | previous chapter | main masterlist

A rude awakening

A/N: This is the final flashback with yours and Mattheo’s story.

“I love you, Mattheo,” I whisper against his ear as the first rays of sunlight filter through the window. 

Mattheo wonders what he did to deserve her affection. Breathing here in between slumber and the waking world, his defenses dwindle. The thoughts he long kept at bay claws its way to the surface. 

He is the dark lord’s son. He was always fated to ruin everything and everyone he loved. If he didn’t hurt her now, he would in the future.

It was easier, kinder even, to let her go now.

So he did what he knew best.

The last cigarette

A/N: Timeline wise, this takes place before chapter seven. In this alt timeline, you and Enzo never attend the ball.

I inhale the cigarette smoke, letting it fill my lungs, and exhale. One last cigarette for Mattheo. Once I snuff it out, I’m letting him go.

A week after we broke up, grief came in waves. I’d do well in class and get excited to show Mattheo before I remember I no longer could. I’d see his favorite food at the Great Hall and turn, but he wasn’t beside me. I’d snuggle in bed and wait for him to climb in, but he no longer did. How did I keep forgetting?

How did I keep remembering?

I remembered one evening how smoking helped him relax. Maybe it could help me too.

All it did was make me smell like him and I clung on because it was the closest I could get to him. 

But here, now, one last smoke then I'll let him go. I inhale and think of twinkling night skies, when Mattheo and I pretended we were floating among the stars. The way they reflected his eyes.

I remember hot chocolate and croissants, snuggling by the fireplace. He complained about my chocolate flavored kisses. Deep down, I knew he loved them.

I recall his fire. Hair pulling, lips crashing, back scratching. The way his touch seared my soul.

And it was good for a while. I exhale and watch it all drift away in the night wind.

I inhale and recall that night. Begging him to stay, to talk to me, we could work it out. Instead he said he got bored. Instead he kissed her.

And oh. Love really did leave you hollow when it left. I exhale and watch the smoke disappear.

I inhale and—

“I thought you liked your lungs?” Mattheo asks, approaching me.

“Don’t talk to me like you know me.”

He stands beside me, eyes searching my face. “I’m sorry,” he says.

“It’s a little too late now, isn’t it? What the fuck, Mattheo? I’m with Enzo and suddenly you care about me?”

“I’ve always cared, please—” he tries.

“You had three weeks to find me, Mattheo. To apologize. But you didn’t. I’m not some trophy you can take from Enzo just so you can score another point against him!”

He recoils, hurt in his eyes. “Do you really think that little of me?”

“Have you forgotten what you’ve done?” I ask.

“If I could take it back, I would.”

“You promised you wouldn’t hurt me,” I accuse him.

“What do you want me to say?” He asks, exasperated. “I’m an idiot! I messed up. I never felt like I was good enough for you.”

“No Matty, you don’t understand,” I point to him, a tear escaping. “You made me feel like I wasn’t good enough!”

My tears spill and his eyes water. He pulls me in his arms as I sob.

“You don’t get to hurt me and cry as if you’re the victim,” I say.

“Angel, please, I didn’t mean to” he shifts so he can look into my eyes and wipe my tears. “If words are not enough,” he kisses me.  

My lips are electrified, everything inside me burning. Needing, hating, mourning. I want to scream, instead I suck his lower lip hard enough to bruise and grip his hair. It earns me a grunt as he hauls my body to his, closing the gap between us.

His hand trails down my waist to press me where he needs me most. Moving against each other, friction and heat sparking embers within. And it’s still not enough.

Without leaving my lips, Mattheo turns us around. Hands locked around his neck, eyes closed, I follow his footsteps until I feel the wall behind me. His hand snakes under my skirt, caressing my thigh. A filthy moan leaves my mouth—begging, praying, craving. More.

He moves his finger where I’m most sensitive and I gasp, breaking our kiss. He brings his mouth to my ear, “I’ll show you just how sorry I am.” With his free hand, he tugs my hair until I’m staring at the stars, and runs his tongue from the base of my throat to my chin.

Muscle memory takes over as his fingers slide across my folds, knowing just where I needed him. My breathing gets ragged when he fills me up with his fingers, exploiting all the ways he can make me moan and whimper. “Fuck. I missed you, angel.”

I ride his fingers, hating his stupid voice and his messy hair.

He bites my neck, leaving marks and I hate his filthy mouth.

He moves relentlessly. I hate his eyes. I hate his hands. I hate his voice.

I burn until I’m overcome with white hot rage, coming undone for him. Shockwaves of pleasure writhe through me as he presses me for all I have.

A second before afterglow, in the quiet darkness, I hate myself most because I still love him. 

“Come on angel, I’m not done apologizing,” he says, taking my hand, leading me to my dorm.

I never get to finish my cigarette.

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A/N: If there was a quote for you and Mattheo in this series, exploring your past relationship, it would be:

"The love was there. It didn't change anything. It didn't save anyone...but it still matters that the love was there."

Thanks again to everyone who followed the series! ♡

Taglist: @hoeforvinniehackerrr @i-think-you-are-gr8 @thecraziestcrayon @adreamingpendulum @themarauderswife7 @midsoulz @ultramarinetovelvet @val-writes @lafrone @daisiesformylove @mildly-delulu @allebasi05 @enha-stan @skb4000 @nat1221 @s0urw00lf @helpimhopelesslyinlove @helendeath @optimisticsandwichgladiator

[jonsnowunemploymentera]

This isn’t really a fully formed thought or anything. But it’s interesting how Sansa, Jon, and Lyanna specifically factor into one of GRRM’s greater explorations on the merits of fantasy. More specifically, there is a common trope that connects these three characters: a princess locked in a tower transforming into a valiant knight/hero. Lyanna and Jon, for starters, are pretty obvious explorations of this. Lyanna is the reconstructed version of this classic trope especially as presented through Arthurian tradition; but the twist here is that the dragon/knight who “locks” her in the tower isn’t actually evil and she isn’t so much kidnapped but rather willingly chooses to go there with him. This princess in a tower directly results in the birth of the hidden prince trope, which is even older than Arthur. So one fantasy classic, Rhaegar and Lyanna, leads to another with Jon being Arthur (a hidden prince and destined king), Percival (a hero who grows up in obscurity but has a great destiny to save the land), and Galahad (a noble hero destined to be even greater than his father, Rhaegar/Lancelot, ever was) all at once.

This princess dies in the tower…but her spirit/ghost lives on through her son, who grows up to look and act just like her, eventually becoming the valiant hero you read in the stories (but again, a de/reconstructed version). Part of how Jon does this is by repeating Lyanna’s actions as the valiant “knight” protecting an innocent from bullies. So by making it out of that tower even though his mother didn’t, Jon becomes the survival and rebirth of the fantasy ideal. You could even make the argument that just because Lyanna died doesn’t mean fantasy died as well because it lives on through Jon, her son. And this is actually is aided by Lyanna’s pleading for her son’s life, so she has some agency in how fantasy is preserved in the same way she had agency in how it’s perpetuated when she protected Howland Reed and when she ran off with Rhaegar. The princess living on and becoming the hero/knight in the stories is thus taken on by two characters here: Lyanna and Jon, mother and son. Jon goes even further into the Arthurian-knight playbook by encountering and eventually killing another vicious bully, Janos Slynt, who was coincidentally had a hand in his father’s demise. Then enter princess in the tower 2.0, Sansa Stark.

Sansa is an interesting case because she’s not martial in the way Lyanna and Jon are. But she too encounters her fair share of knights and villains. Janos Slynt is one of them, and Littlefinger will be another. I’ve talked about this before but Jon becoming the valiant hero Sansa wished for is important because it directly plays into GRRM’s reconstruction and (imo) defense of the ideals of fantasy. It’s not so much that heroes don’t exist - they actually do. They just might be far away, or might be the ones you’d never expect. This is the opposite of the “fantasy is dead, stop believing because everything sucks” reading you might see in some sections of the fandom. This moment may not end up meaning much for Jon and Sansa and their relationship, but it means a lot to us readers who are audiences of GRRM’s conversations with the genre and his arguments for its appeal. But that’s not the only interesting thing because Sansa, unlike Lyanna, does eventually make it out of the tower. But she’s currently in the hands of Littlefinger who, like Janos Slynt, was a villain responsible for her father’s demise. In this scenario, will she have to wait for a valiant hero to come take care of him again? Or will she instead don the knight’s armor (figuratively) by enacting justice in her own right? Based on the GoHH’s prophecy, it looks like it will be the latter; and it’s important to note how often “armor” as a motif is repeated in Sansa’s chapters. Thus, the princess evolving into the hero is told through the arc of a singular character here. Sansa is the princess who makes it out of the tower to become a hero of her own making; important disclaimer though, Littlefinger doesn’t really play into the elements of knighthood but he does count as an evil lord holding a princess hostage so Sansa can still be a subversion of the knight rescuing the maiden - the lesson being that she is her own knight, her own salvation!

It’s a very powerful meta-textual thread that exists between these three characters. They all fit into a wider narrative about fantasy and how it can live on, whether played straight or twisted a little crooked. So Sansa doesn’t have to be an overt in-universe parallel to Lyanna because that’s just not her role in the story. And I personally don’t think any “similarities” they have are actually important to Sansa as a person or to Jon because let’s face it, Lyanna’s primary (and most important) role is to be Jon’s mother and everything else informs on that. But both these women (and Jon) can be meta twinsies based on how they fit into GRRM’s wider narrative goals.

[darylscigarettesmoke]

Notes on 2x06 (and two rants)

- Laurents guitar is horribly out of tune but the scene was cutie patootie but I still got the ick. It would’ve been better if they’d just let Louis sing the song alone (like originally intended)

- Laurent is gonna be Ash’s new son. It makes the utmost sense to me. He leaves without a son and falls for Carol’s lie and comes back with a son to look after, it’s the perfect conclusion to Ash’s arc. (I have a blog post of that on here). “I don’t think he likes me” foreshadowing “You came here to save a kid, you still can” foreshadowing. The way Ash and Laurent are in the plane together? They way Ash explains to Laurent how the plane works, leaving them to joke around in the cockpit? Foreshadowing. Daryl literally says “they’re good together.” Daryl’s probably never gonna be Laurent’s “Dad” in my opinion. Now this could mean two problematic things: 1) Daryl’s entire arc in season 1 and 2 of his own spin-off comes without a reward, a resolution, a reason. If I’m right and Ash bonds deeply with Laurent while Daryl’s away, everything the viewer and Daryl had to go through don’t mean crap anymore. The entire french arc, the kiss, the controversy that the season is for many fans would be for nothing. Or 2) they spin it like Laurent’s the only reason Daryl has now to even go back to America. Because apparently he didn’t have enough before Laurent took of to the Commonwealth. Right? RIGHT? It’s not like he had people there who dearly miss him. Kind of insulting if you ask me. No big hopes on that front for season 3.

- the biggest ick I still have is that Laurent is written like the all knowing, deep emotionally matured messiah, bro is 14 ?? why do they make him talk like that

- the season doesn’t have enough gore. It lacks the TWD-feeling. Everything looks so clean and polished.

- CROSSBOW RETURN AY HE FINALLY LOOKS LIKE DARYL AGAIN

- Carol crossed an ocean for Daryl just so for him to want and send her straight back home while he offers to stay behind okay Daryl. Carol, Ash and Laurent would make a cute family

- On the bright side is Daryl’s sadness, so to speak. He sees how the entire life he started to want for himself is getting ripped away from under his fingers. Looking at the entire plot like this, it makes actually sense, the way he behaved. He figured his happy ending consists of a stereotypical family, a wife/girlfriend and a son. In my opinion, he was more in love with the idea of that, settling down, than necessarily the people (a recent interview with Norman Reedus confirms the suspicion). But I think, because he realized that this might be something he needs/wants, is the next person he gets involved with purely out of convenience? Or does he accept that having a family of his own might not be in the cards for him? It’s okay, baby boy. Maybe that life just isn’t for you.

- so cool to see the fricking euro tunnel as an european

- daryl sees gasmasks and walks into the tunnel like what’s the worst that could happen right? Meanwhile Carol strolls off to find pennywise i mean sophia

- horror effekts look so cool in this ep. The glowing walkers really are the shit.

- daryl “chokehold’s illegal” dixon is back

- Carol is more alone than ever in this season and it breaks my heart

- Daryl having a vision of Isabelle will never not be icky why is she leaning over him like that get off of him?

- Zabel cutting the “if you see Glenn, Beth and Merle, tell them I did my best”-scene from the leaked script was the biggest mistake of the entire season. That scene was so important for who Daryl is as a person, struggling with survivor’s guilt and trauma, and good old Zabel reduced the scene to a stereotypical “dead gf gives male hero hope to keep going” with no emotional resolution or development for Daryl’s character. Zabel really is one of the worst showrunners I’ve seen (for a story like Daryl’s, I haven’t seen anything else from him) who absolutely lacks the comprehension of his main characters and what is important for their development to sell a love story that was doomed from the start and doesn’t even bother to try and dive into what makes his character drive and how they’re wired. Sorry if I ever spoke badly about Benioff and Weiss for the last Game of Thrones seasons because Zabel really takes the cake.

- “where is codron?” “He ran off” and that is a wrap on the french cast, bye fuckers

- “you can’t always get what you want” Daryl didn’t get what he wanted - to get home quick. But he got what he needed, - a means to endure his time abroad, something to care for, something to fight for. Just like the Rolling Stone song says. Now it’s time for the next adventure.

WELL THAT’s a wRAP ❤️

That being said, Norman acted beautifully with what he was given and even though I heavily criticized the season I’ll never get tired of seeing him as Daryl. The guy owns my heart.

[that-ari-blogger]

Fantasy Australia (The Edge Of The World)

How do I open this post?

Almost every episode this season has had majour revelations, but this is one of the most significant. Every episode has had multiple themes that it has played with, but this one weaves them all together so incredibly seamlessly. Every episode has made an attempt at emotionality, but this is one of the few that genuinely has me bawling at almost every watch though.

So, yeah, this episode is dense, but it doesn’t feel like it. There is a ton of information here that goes straight to your brain without having to be pointed out. Combine that with the substantially ambitious plot, and this episode is really efficiently written.

Let me explain.

SPOILERS AHEAD: (The Owl House, Nimona, Glee)

I’ve said before that certain stories don’t go places, and instead start there and get more detailed in their examination of it, and I’d like to clarify that here with a contrasting example. The Owl House goes places.

For an example, let’s look at an earlier episode that tried to do something with King, that being Really Small Problems. I know it isn’t a fair comparison, but that’s kind of the point here.

Really Small Problems comes towards the end of the first season. The series has got its mind around what it wants to do, and it shows us the growing camaraderie between the characters. Amity isn’t Luz’ friend yet, let alone girlfriend, and Eda gets in trouble with the “Fun Police.”

It is a fun episode, with the main conflict being King’s fear of abandonment. He doesn’t want to be left behind, so he accidentally causes an issue. By its very nature, this episode is small in the big scheme of things, and it’s not trying to be anything else.

“Dumb kids? Wait, those are my dumb kids!”

This isn’t from King, but it does help me segway into The Edge Of The World. By the time the final arc rolls around, Eda realising she has to look after people has turned into a desperation to protect them from all danger.

“This is so much bigger than I imagined, Lily. I thought Luz was just some lost kid, but because of me she’s wrapped up in this thing with Belos and its… it’s just not fair. She and King are children. They shouldn’t have to deal with this.”

Up until this point, I agreed with everything that Eda had said. They are kids, get them away from the danger, that’s basic parenting. This isn’t a “let them make their own mistakes”, this is something that could get them killed and is actively detrimental to their mental health as it is.

I genuinely love the shot composition of this one moment. We get Everyone at a different distance, guiding your eye through the shot. But you also have Eda leaning in to get between them all and physically disrupt their plans.

However, I want to disagree with Eda on one key element of this. It is not her fault.

Because, yeah, if she hadn’t been exiled from society, or if she hadn’t been cursed, things would have gone much better for everyone. But I’m using passive voice for a reason. It wasn’t Eda’s fault that someone cursed her, it wasn’t Eda’s fault that society exiled her. Someone decided that wild magic was punishable by death, I would place more blame on that person than on Eda.

Focusing in on the curse bit for a second, Eda has forgiven Lilith, and the two have a much healthier relationship. This is most exhibited by fact that Eda can be honest with her, and the reaction she gets is a hug and reassurance.

“We have a whole week until the Day of Unity. We'll figure out how to keep them safe.”

Did you catch that, though? Two lines, and we have two character arcs set up, as well as a deadline being established. The next few episodes all take place in the span of a single week.

This is the equivalent to the last season of The Clone Wars turning to the camera and saying, “Duku’s dead, buckle up”.

This is the opposite of drip feeding, it’s a lot of stuff happening very quickly. Your brain can only focus on one element, but you do register the rest subconsciously.

The technique has already been used less than thirty seconds prior to this, with Hooty dropping the Chekhov’s Gun that is the army on the house’s doorstep in the middle of Eda’s breakdown. You are so focused on the fact that this is white noise to her that you almost miss this. Almost.

If you did notice that information becomes Hitchcockian suspense, as you will spend the rest of the episode stressing about Eda and Lilith. If the episode just ended on the cliffhanger with no setup, you would panic at the end, but you know it’s coming. You look forwards.

Zooming out for a second, I want to talk about the purpose of storytelling and how it relates to analysis.

Stories exist, first and foremost, to communicate with their audience. That is how we end up with shallow stories and dense stories. A shallow story is trying to communicate itself and not much else, and this is not definitively worse or better than a more complex story. Sometimes, the story just wants you to have a good time watching it, and that’s ok.

As such, a key tool in any writer’s arsenal is engagement. If an audience member connects with a story, they are a more likely to understand the plot and themes and all other relevant elements.

It’s not essential, There Will Come Soft Rains is a short story by Ray Bradburry that is intentionally uncomfortable to read, and that’s because the aim is to get you to stop reading and take action.

Look at these character designs. They're so unique and personable. But they're also weird. King's eyes don't match these at all. Maybe they aren't as similar to him as they claim.

The Owl House is a series that, for the most part, likes to be engaging, and The Edge Of The World does this especially well through worldbuilding. You find out that this world has a version of Australia, and you don’t ever get to explore it, you just get glimpses.

The series has rewarded curiosity up to this point and trained you to pay attention to its actual plot. So, let’s actually talk about that.

Stop me if you’ve heard this one. A character spends the story learning something about themself that explains part of who they are. But oh no, the characters family, who was so accepting up to this point, is suddenly unforgiving. All the character wants to do is engage with their family and cultivate that relationship, but the basic detail of who they are gets in the way of that, culminating in the following:

“You were never one of us.”

This is the plot of Nimona, my single favourite moving picture ever made.

Nimona is a fundamentally queer movie, with its eponym’s shapeshifting nature causing her to be ostracised. She is othered because of who she is, when all she actually wants is friendship.

But Nimona is actually a secondary character in her own movie. It’s not about her, it’s about the other side. Nimona is about someone who has been societally conditioned to be a bigot learning the error of his ways.

The film is a subversion that doesn’t focus on humanising the queer person, instead using that as a baseline and explaining that it is possible for an asshole to change.

But this is all very cerebral. What about a more blatant example?

“I’m just too tired. I have to just be me.”

“Everyone has secrets, Santana. They are called secrets for a reason.”

This is part of a conversation that takes place between Santana and her Grandmother in Glee, leading up to Santana’s wedding to another woman. This is Santana coming out to her grandmother, and I want to highlight the acting here.

It’s quiet, and comfortable. You can tell that these two share a kinship. But the second Santana starts being honest, Abuela starts looking around for an escape, clearly wanting to be anywhere she is not. Who Santana is has created a rift between her and her family.

This is, notably, subverted at the wedding itself. There are not many moments in any media that can make my stomach drop without fail, but the second Abuela walks through the door is incredible. It’s a moment of connection and overcoming of prejudice. It’s a story beat that communicates itself to you entirely in four seconds.

If we pivot this back to King for a moment, we end up with a very similar story. It’s about King discovering he is a Titan, a word that doesn’t mean anything in our world, so we are free to engage with it as we wish. Then, he is shunned by the people who claim to be his family.

His fear of abandonment from previous episodes has been put on full display. We have set up why this would hurt him as much as it does

You could make a note about how this episode relates to interpretations of faith through the Titan Trappers' admiration for the Collector, who in turn doesn't appear to know who they are, so the Trappers are instead making things up as they go. You could notice that. But I won’t.

The Owl House resolves its main conflict by giving King two families of his own. The first is the found family of Luz, Hooty, and Eda, who contrast the stereotypical family things that the Trappers do with actual love and affection. But, he also has the land itself, which guides and protects him.

Before I go, I want to briefly mention a piece of fanart. Spoilers for the entirety of the series from this point onwards.

The most important shot of this episode, to me, is one of the final ones. King, looking out, returning to his home, but with different eyes. He’s choosing to engage with it, but he’s still staring at the vastness of his own future.

The artist @kaereth then offered another angle on this scene, quite literally.

The land is guiding King, his parent was always there, always watching, always looking after him. Because someone can’t talk to you doesn’t mean that they aren’t present.

The Titan is effectively dead in this series. Like, sure, he’s alive in there, but he ain’t doing much. This is the closest the two get to actually sharing a conversation, and it’s the moment before everything goes to hell.

Fun fact, this is what traveling in Australia actually feels like, so kudos for the accuracy there.

Final Thoughts

This is what I meant about The Owl House being a queer story rather than just a story with queer people in it. It’s about identity and family and belonging. It’s about freedom and escape from bigotry.

Because being queer doesn’t make you any different from anyone else, it just means maybe you like or don’t like different people or express yourself in a different way. It’s just a thing that people are.

Next up, Labyrinth runners, the culmination of the most important character arc in the entire show. That of one Principal Bump. Stick around if that interests you.

Previous - Next

[teshadraws]

Hi! I'm writing a pmd fic at the moment and was wondering, how much of Seeker's did you have planned before you started posting it? Were the story and world building both finished?

Oh, absolutely not. 😂 While I’ve had the ending of the fic figured out from the beginning, and I had a vague idea of how some elements of the story would work (Nia and Tobias’ character arcs, for one), a lot of Seekers has been a “figure it out as I go” type of story.

If you’re wondering if you need to get everything figured out before you start sharing, I’d say no! Everyone has a different writing style and some need that kind of preparation to feel comfortable, but personally? I never would’ve started posting Seekers at all if I’d waited until it was finished to start sharing it.

Good luck with your story, anon!!! ^^

[gale-gentlepenguin]

Gale’s Top 10: Most Hated characters

Rules:

1. To make this interesting, I’m going to be picking characters that aren’t intended by the writers to be hated (annoying maybe, but not hated). So Villains aren’t going to be on this list since most are often supposed to be hated.

2. I will be covering Anime, manga, cartoons, and comics

3. Only content I’ve heard of (and at least somewhat have exposure to)

4. This is a VERY personal list. And If you happen to like a character I list. If it’s below the top 5, that’s fine. But if it’s above the top 5, please seek professional help.

___________________________________________

10. Z from All Grown Up!

This is supposed to be a 10 year old kid. I kid you not.

When he was first introduced, I did figure it was the simple don’t judge a book by its cover story. And yea it was mid back then. But I remember watching more episodes and realizing. Z is actually really f***ing boring and the episode about not judging would have worked if they were all 14 or 15, but Z is 10! They are all 9 to 11 years old! This show was so dumb! What parent lets their kid dye their hair and get piercings at 10?! How would he even know what punk is?

I think my main problem with Z is really the fact that it shows how he doesn’t really fit in a story of 10 year olds. Which was one of the big problems with All grown up! As a show. And personally I hate being reminded of why it fails so much as I did enjoy it as a kid.

Though out of all the characters on this list. He at least isn’t a jerk.

The other reason was I am a Tommy and Kimi supporter so…. Yea. That too.

________________________________________

9. Ronaldo- Steven Universe

Now I know he’s supposed to be annoying. But that’s not my problem with him. His obsession with keeping beach city weird is fine. It’s the entitlement he has.

Not the conspiracy theories, it’s him trying to insert himself into it, trying to be the main character. And it’s always causing trouble for Steven. But I really think what does it is just how selfish he is about it. He never learns, starts to consider other people’s feelings. For Steven Universe, a show that gives pretty much everyone a redemption arc, Ronaldo basically goes “nah I’m good as is.” That’s what really grinds my gears about it.

____________________________________________

8. Chloe Carmichael from Fairly Oddparents

Now I should stress that before her introduction. The show was already on a decline with the introduction of Poof, Foop, Sparky.

But Chloe, oh she was a different breed of ruining the show. She made it unwatchable. Like people often complain about Mary Sue characters. CHLOE is a 100% grade A Mary Sue.

She just shows up, gets partial custody of the fairies, everyone likes her, but she somehow a bit miserable so she gets to have faries? Chester is WAY more deserving.

But seriously everything around her seemed to bend to her will. And it was so bad I think they canceled the show midway through the season.

But the reason she is so low is because she was simply the last straw on the shows decline and not the root cause. And I hardly watched the season she was in to care enough.

___________________________________________

7. Hiruzan Sarutobi - Naruto Shippuden

Now for those of you who watched only the first part of Naruto you are probably VERY confused on why this old man is on the list.

For those of you who have watched part 2. You know EXACTLY why he is on this list.

This man’s inability to stop ANY of the awful crap that resulted in the events of the story.

-He let the Uchiha extermination happen

-He let Danzo basically do whatever he wanted

-He didn’t stop Orochimaru who ended up attacking his village years later (and resulting in his death)

-Never told Naruto about his parents, and Litterally just gave the orphan money and dipped out.

-Didn’t stop the village from ostracizing Naruto

And the list goes on.

Like for some things, I get. The uchiha were planning a Coup and it could have gotten ugly but for f***s sake he could have done a better job in negotiations! Also why would he ever trust Danzo?

The rest is on him. Konohamaru is better off having Naruto as his mentor than that old bastard.

___________________________________________

6. Chris Thorndike - Sonic X

I hate this f***ing kid so much.

Oh people complain that Amy is so focused on sonic. Nah man, this kid only ever thought about sonic. This kid even tried trapping Sonic in his world because he didn’t want to say goodbye.

“But he’s lonely without his parents.”

WTF you talking about. His parents see him pretty often despite their careers and both clearly love him. He also has a maid and butler that both watch over and care for him. Not to mention uncle Chuck that is watching over him. Plus he has a group of friends his own age (all of which are more interesting characters than him).

I can’t even begin to describe how much of a jerk he can be. I will say the only reason he isn’t higher is because Chris actually TRIES to be useful in the matarex arc.

____________________________________________

5. Velma Dinkley - Velma

Or should I say Mindy kaling wearing Velma like a skin suit.

I hate when people turn beloved characters into self inserts and this entire show was this. Now I could go on about how they ruin Velma’s character. But this, this isn’t Velma. This isn’t even Scooby doo. It’s just using its name. And that’s all I can say. I’ve only watched enough clips to justify putting this on the list. This character and the show are both awful, so at least she isn’t ruining the show. And she does die, so at least there is some satisfaction. Which is why she is only this low on the list.

____________________________________________

4. Jared Shapiro - Powerpuff girls 2016

I don’t care what the interviews say. No one can convince me this kid isn’t a self insert of one of the writers.

An out of nowhere love interest for the main character.

While not as bad as the case of Velma, this one is much more personal having grown up with the OG powerpuff girls. So this makes me want to gag.

He’s such a bland and weird character. It’s just so creepy. I can’t even begin to describe how creeped out this character makes me feel. It does not feel like him and blossom are the same age either. It just ain’t right.

___________________________________________

3. Caillou from Caillou

I happen to like kids. Kids are creative and fun little gremlins. But whenever I see Caillou, the visceral urge to punt this child is intense.

He is the WORST child character in all of fiction. If the show never existed I’m 100% sure the world would be a better place.

He is a brat that NEVER learns. He says he does but he doesn’t. He is always the exact same little turd he’s always been. The only redeeming quality about that show is that the theme can be remixed into a bop.

___________________________________________

2. Paul Jeremiah Rabin from Amazing Spider-man

This man is probably the most hated man in all of spider-man comics.

Zeb Wells really s*** the bed so hard when he created this guy. Making a character that basically kidnapped Mary Jane, gave her super powers, made her get into a relationship with him, and basically ruined Spider-Man’s personal life.

You want to know how bad you messed up when in the issues where spiderman was possessed by the green goblin’s evil and he wanted to kill Paul, PEOPLE WERE CHEERING.

I do not think exists a single person that Likes Paul as a character. It’s actually kind of amazing.

But he is only number 2, because the ultimate spider man run is helping us forget the TRAVESTY that is Paul.

__________________________________________

1. Dave from Total Drama Pahkitew Island

He was the worst part of the worst season of total drama.

He started off as a whiny less then fun version of Noah and ended up as a clingy, psychotic toad that deserved to get ripped apart by bears.

Now with previous entrees I can kind of understand if there is someone that could like the character. Maybe…

But Dave?

If you actually like Dave and the person he became, we can not be friends. I would recommend a psych evaluation.

The boy is vindictive, controlling, condescending, and overall PATHETIC! And his label was Normal. The normal boy?! Nothing about that ‘Nice guy tm’ is normal. He was a piece of garbage.

Every action he takes is in his own self interest and I don’t see a SINGLE redeeming quality about him.

We are supposed to Want him to get together with Sky?

Him dating the Communal toilet would be a disservice to the toilet.

And that’s all I got to say on that matter.

[andrewwtca]

a Soriku Endgame, Actually essay on Light and Darkness

Also available to read on Archive of our Own.

Kingdom Hearts, with Sora and Riku in particular, has been on my mind as of late. It’s always been on my mind, to be honest, ever since I first got into the series. It’s grabbed my hand and hasn’t let go, especially with all the new lore. And yet, I’ve been struggling to make peace with myself. 

On one hand, I don't want to get my hopes up, thinking that Sora and Riku would ever become something 'more' or that what I’m seeing is anything other than in-depth speculation. I've had my heart broken before and this series means too much to me for me to foolishly dive in like this. 

On the other hand, I can't ignore what the story is telling me, as a literary analysis enthusiast and as a diehard fan. There have been parallels established, setups finally going through, and Nomura has said before that “this series is not intended to be child-focused, and so the complexity of the story is purposely made prominent.” I can’t keep turning a blind eye, knowing everything I know, thinking everything I think. If I did, I feel like I would be doing a disservice to both my experiences with the series and my experiences as a person. 

So yeah—Soriku Endgame, Actually. Today, I’m arguing its canonicality because of the balance of Light and Darkness (or lack thereof) throughout the series. Please enjoy my messy and impassioned essay!

a sky of falling stars

The Children of Destiny is a new concept introduced to us in the finale of Dark Road. To summarize, they are people with the ability to feel what others feel, connect, and become one with them—empaths with Light. 

It appears that the Children of Destiny are all descendants of Ephemer, characterized by silvery hair. There's Ephemer, there's Baldr, there's Xehanort—and, oh yeah, there's Riku. 

Upon the release of the finale, a lot of people—myself included—quickly jumped to the conclusion that Sora is a Child of Destiny, which isn't all that wrong. If we're going by what the games have given us, Sora is very special. What other character has housed five different hearts inside his own? What other character had an entire arc in Birth by Sleep talking about how he felt the pain in someone else’s heart?

But Nomura has insisted since the beginning that Sora is an ordinary boy, that he wasn't born with anything special, explaining that he “had the premise that a heart like Sora’s exists within all the players. Sora is ‘ordinary’, therefore everyone is ‘ordinary.” (Before anyone argues Nomura is just going through a retcon, I doubt he would go through with one to this extent, given how he has had the ending to the Dark Seeker Saga in mind for years.)

Riku, on the other hand, has not been given this kind of treatment at all. He's always been painted as a golden child, better than Sora at everything, being the original bearer of the Keyblade. For crying out loud, he had a light in Birth By Sleep that was seen from space, not Sora. If you factor in bloodlines, it wouldn't be too far off to theorize that Riku is a descendent of Ephemer's line. Riku isn't who most look at first, but all signs lead to him being a Child of Destiny. 

But that doesn't explain Sora at all. He may not have been born special like Riku, but he's special somehow. After all, Nomura did finish his ‘Sora isn't special’ line with, “I figure even if you’re ‘ordinary’, for something important, everyone can exhibit a special power just like Sora.” Aqua even calls out that Sora is the one who can set things right, the boy who can touch others’ hearts. 

And that is where the necklace theory comes in.

Sora has always been associated with royalty, sitting on a throne in box art or having crowns plastered around him—or on him. From his debut, Sora has had a crown necklace that has never been explained. Despite wearing it in every outfit, it's never been addressed how it came to be.

It’s after Aqua and Terra came, judging by the BBS cutscenes of him and Riku. But it’s before KH1, as that's when his journey began. That’s a huge timeframe, from being a kid to deciding to leave the islands, but it's easy to pinpoint a time when considering something the games still never fully fleshed out: the meteor shower. 

In Chain of Memories, Sora and Riku fight over this memory they supposedly both had of Namine one night during a meteor shower. One of them promised they would keep her safe, and it's all cute until we remember that Namine wasn't actually in these memories. And Namine can't make any new memories—she can only rearrange old ones. 

Sora and Riku both share this memory. And the way they fought over this memory gave it the utmost importance. It becomes obvious at this point that the both of them witnessed a meteor shower, and given what we know about their dynamic (and that's a lot), it would make sense to assume it was Riku promising Sora to keep him safe—almost like a charm.

The necklace theory has been around for years, but it’s only after the Dark Road finale that it was expanded upon (or perhaps it’s just me and maybe three others who think this, but I don’t mind one bit.) It isn't just Riku promising to keep Sora safe. In giving Sora a necklace, a crown, Riku has metaphorically crowned Sora. He has brought Sora up to his status as a Child of Destiny, putting all his love into a charm that he hopes can keep Sora safe. 

There’s a flaw in my logic though, trust me, I know. I just said that this meteor shower didn’t happen until after BBS, and yet it’s during the game that Sora feels the pain of others, it’s during the game that Aqua says that Sora is going to be the one to set things right. But I still stand firm in my belief. Riku has always been painted as the golden child, the Child of Destiny, but his love for Sora runs deeper than his love for anything else. 

Riku’s light is the one that brought Terra and Aqua to Destiny Island but Riku’s light shines for Sora; sort of like step one to Sora’s crowning. Riku’s light rubbed off on Sora, ever since they were kids—after all, a Child of Destiny’s power is to connect hearts. Why not connect his own with another? Why not share his light?

Further, in BBS, Sora can feel Ven’s pain and take care of his heart, but he isn’t fully aware of this nor is he able to really do anything about this. It isn’t until KH1 that Sora ever exhibits a power of truly connecting to another’s heart when Sora entered the darkness swallowing Riku and touched Riku’s heart’s light to obtain his Keyblade, explained by Nomura himself. And it isn’t until KH3 that Sora finds the power to wake up Ven’s heart.

Regardless of whether or not I’m right about this, it means Nomura isn't technically wrong about Sora being normal. Sora, no matter what, doesn’t have some divine birthright, but he still has the makings of someone who can bring peace to the world—all thanks to Riku.

This helps set the tone of their relationship, of the depth of Sora and Riku’s bond. It also moves the storyline forward to how they will be the ones to instigate change—but I’m getting ahead of myself. Let’s first talk about who once were and who they could’ve been.

in another life

Kingdom Hearts is pretty on the nose on parallels between Xehanort/Eraqus and Riku/Sora. Besides personality, Xehanort and Riku are both Childs of Destiny who give in to the darkness and Eraqus and Sora are endless sources of light. But the parallels don't exist to make us empathize with Xehanort/Eraqus: they're to tell us a cautionary tale of what our protagonists could've been. 

So it begs the question, what actually separated Sora and Riku from becoming like Eraqus and Xehanort? Let’s start with Riku.

To recap, Xehanort was a student in Scala ad Caelum alongside Eraqus, who watched all his classmates die. He learned from Baldr about their roles as Children of Destiny and in his grief, became obsessed with wiping the world clean. He wanted a Keyblade War to create a fresh start, void of Light and Darkness, so that the world could try again. 

Riku seemed to have been walking the same road as Xehanort. He stopped fearing Darkness and started dancing on the line between it and Light. Riku was angry at the world and angry at his friends, and perhaps in another life, he may too have wanted to wipe the world clean. 

But every time I compare him and Xehanort, I can't help but think that a cautionary tale isn't what Xehanort/Eraqus is. Because I can't help but think that it just could never have happened to Riku, and it's for two main reasons: 

1) Hope.

Riku has hope in the world. When we look at all the other Children of Light, they all had a Darkness that took them down (although in Ephemer's case, it was a literal Darkness that killed him). Baldr lost himself in grief. Xehanort lost himself in rage. But not Riku. 

When Xehanort saw that the world couldn't be fixed (to how he believed it should be), Riku did not even see a world that needed fixing. Riku saw the world in all of its complicated glory. For instance, Riku is one of the first characters to acknowledge the feelings of Nobodies; their pain, and their love. He doesn't see them as an extension of Darkness or Light. They simply are. 

Riku believes in redemption. It's been his entire character arc, after all, to redeem himself and walk the Road to Dawn, a term coined way back in CoM. Ever since then, Riku has been closely associated with the sunrise—night turning into day. Darkness becomes Light. Redemption. This symbolism is shown in box art, said in interviews, even his Keyblade is called the Way to Dawn. 

The fact that Riku was even able to think of the Road to Dawn proves that he's nothing like Xehanort. Xehanort believes that there is no redemption because the world needs to be wiped clean. But Riku believes that there is a road he can walk, a road he can take to salvation because the world is not good or bad, but made for people to live and learn. But how? How was he able to walk that road? He has hope, but how was he able to use it? And that's the second reason. 

2) Sora. Riku has Sora. 

It may feel a bit obvious to say, but it's true: the fact that Riku is Riku; Sora is Sora; and their relationship is the way it is, is the key to why they would never have fallen to the same fate. We don't know the full extent of Xehanort and Eraqus's relationship, but it's safe to assume it wasn't as kind or loving as Riku and Sora's ever were. The two would play as kids, promise to keep each other safe, tell secrets—the two became princes of destiny together, destined to fight their way home.

I can't see Xehanort and Eraqus as anything more than students in a fucked up situation. Because when things got bad for Xehanort, he didn't think of Eraqus as his guiding light. He only thought of what he lost. There’s even a line in Dark Road of Xehanort hearing Eraqus crying in the other room, yet he never comforts him, never approaches him. They suffered alone, too afraid or perhaps too blind to reach for one another.

When things got bad for Riku, he saw Sora. He saw how Sora loved Kairi and sacrificed himself for her, and he saw that Sora was forgiving towards him. The reason why Riku and Sora didn't end up like Xehanort and Eraqus is that they simply aren't them. Their bond is deeper and their love is stronger, and Riku’s hope is simply stronger than Xehanort’s ever was.

It’s important to emphasize that this truly is a feat that only Riku (and Sora, one day) could’ve accomplished. It's natural to us that Riku, one of the series' protagonists, was able to do this. It's easy to shrug off the balance he managed to strike between his Light and Darkness, but for so many actually in the series, it's an incomprehensible thought. Mickey even stated in CoM, that Riku introduced Light and Darkness in a way nobody has ever seen before. To understand how this affects Sora and Riku’s relationship, it’s important to understand the way things currently are.

the light we pass down

Light and Darkness are the very core of this series. Light represents the connections you make with others, while Darkness represents the lack thereof—those with Darkness in their hearts are those who walk alone, while those with Light are those with many friends around them. Darkness is selfishness, and Light is selflessness. 

Darkness is usually framed as an inherently evil source in many stories, but it's something that cannot be extinguished. Light needs to be there to balance it. 

But Kingdom Hearts seems to be going down the path less taken—yes, Darkness isn't 'good', and it isn't desirable to isolate yourself from the rest of the world. But the series is asking the question many like to ignore: when does Light become Darkness? 

In nearly every game, you can trace one character fed into the illusion that Light is good, everything else is bad, and the needs of the many outweigh the needs of the few. MoM to his pupils in Union X; Odin to Baldr in Dark Road; Eraqus to his children in BBS; Yen Sid to Mickey in forbidding him to speak of Aqua; Donald and Goofy to Sora in telling him that their ship runs on happy smiles. It is generational trauma. 

A cycle of hypocrisy has been forced on not only the 'defenders of Light' but 'agents of Darkness.' Xehanort doesn't care who he hurts as long as he can get his own idea of balance in the world, believing his judgment to be supreme to others—despite his initial thoughts in Dark Road, that unless someone's heart is pure Light, how can one know for sure what is right and wrong? To which Eraqus responded that they as Keyblade Wielders held the supreme judgment towards morality. 

Again and again, this cycle of defending what they believe is good and Light repeats, hurting themselves and hurting others, and even Sora is not free of this hypocrisy. While he doesn't go out of his way to hurt others the way Xehanort has, he is capable of hurting others: Riku was hurt by Sora in KH1 when he was silent when Kairi suggested leaving him behind or when he shrugged off Riku going missing in Traverse Town. In CoM, when the idea of him ‘abandoning’ people was presented, he acted out harshly and completely rejected the idea (this is all another parallel to Eraqus!)

He even denies the idea that Riku has hurt others. Despite Riku acting out of his own free will, the reason he feels the need to atone and walk the path to redemption, Sora believes that the Darkness was forced on Riku by others.

Sora has been carved into the same mindset as so many others, the idea heavily tackled in Dark Road, that Darkness is only brought upon by others, and that it needs to be expunged. Sora is a firm believer that the Darkness is something to be eradicated, such as with his encounter with Vanitas in KH3. When Vanitas states that he is simply Darkness, Ven is quick to understand and even accept. Sora, on the other hand, rejects this and insists that it isn’t okay. 

Even our series’ protagonist is unable to shake himself from this self-righteous, black-or-white thinking. Riku is the only character in the series who has formed an actual balance in himself, with all other characters having to pick one side. Lea, Xion, and Roxas leave the Darkness of Organization XIII and become Keyblade Wielders. Terra embraces his Light, Aqua leaves the Realm of Darkness, and Ven is literally separated into a being of Light and Darkness (although not out of his own volition).

The series is not framing any of these things as negative—there’s nothing wrong with embracing Light. However, these characters are falling into the same cycle that the generations before have; they will once again be faced with a Darkness too deep to defeat and ignore. It must be talked to, reckoned with, and faced with open arms. Riku has been the only one able to return the hug and walk away.

We’ve explored what makes Riku’s character arc so significant and what Sora’s flaws are, and it’s time to dive into the murky waters of the future.

when does the sun become the night?

Sora. Oh, Sora. I love you, Sora. Now let me tear you and your smile apart. 

The parallels between Xehanort and Riku are very on the nose and easy to distinguish; meanwhile, Eraqus and Sora are a bit more challenging. 

In BBS, Eraqus is the Master of Aqua, Terra, and Ventus. He forms a bond between them, as one would expect, mentoring and looking out for their well-being. The Light in his heart is strong due to his connections with them, alongside being a Keyblade wielder. Although not perfect (feeding into Terra's insecurities about his Darkness, cough), he does care for them. But when the world falls to Darkness, Eraqus doesn't hesitate to be selfless, to give up his connections, the Light in his heart, to kill them to save a greater good. As long as someone somewhere can benefit from his actions, he isn't harming.

But is that selfless? Is sacrificing for a 'greater good' truly selfless? Is there a line between the needs of the many and the needs of the few? Or is there a certain ‘darkness’ that comes with these acts? Disregarding yourself, disregarding others, selfless yet selfish; it's not the right thing to do, and the series doesn't hesitate to frame it as that. What Eraqus did was wrong. He hurt others, even if he refused to acknowledge it.

And yet, no one seems to make any noise toward Sora. 

Sora is a Guardian of Light. He is the cheerful protagonist who makes everyone smile and feel better. Ever since the first game, when Donald and Goofy (although not with ill intent) told him that the Gummi Ship runs on happy faces, he's been under the precedent that his emotions do not matter in the greater scheme of things. In the long run, what matters is that others are safe, the people he cares about. 

Once again, like how Xehanort and Riku deviated in terms of having hope, this is where Eraqus and Sora begin to deviate from their parallels. While both are selfless to the point of ‘darkness,’ they show it in dramatically different ways. Eraqus is willing to hurt the people he cares about (and by extension, himself) to serve this 'greater good', but Sora is only willing to actively hurt himself. 

I feel the need to remind everyone that this is a teenager we're talking about. If we weren't in a franchise partially owned by Disney, I feel like more people would be willing to call this what it is: suicidal. This is not Light.

We've already seen ways that this harms Sora outside the narrative and the whole getting sent to Quadratum thing in his Rage form. Sora transforms into a drive form that’s oddly reminiscent of his time as a Heartless and can unleash powerful attacks that lower his HP (hmm). Furthermore, this form only appears when his HP is low (double hmm) and stated by Nomura, “based on him going into a rampage state, controlled by feelings of anger (triple hmm).”

Back inside the narrative, the climax of KH3 was Sora believing that he's worthless without his friends, genuinely worthless, and unable to fight at all. This is the very definition of a Light gone too far when remembering that Light is the connections you form with others. With too much Light, Sora lost himself. He couldn't find himself past who he was for others.

In the section prior that broke down generational trauma as it appears in Kingdom Hearts, I mentioned that Sora does not only end up hurting himself but passively hurting others around him, most notably Riku. Sora is unable to understand that Darkness is not the absence of all good but rather the shadow that simply follows you around. Sora cannot understand that Darkness is not something to be shunned, to never talk about. (This could also be tied back to his Rage form—while he does not actively channel his anger to hurt, that is what happens; only to never be acknowledged by him.)

(Off-topic, but I find it funny that Sora, who is so keen on the idea that Darkness is Not Good, was only ever to have a proper conversation with Riku in the Realm of Darkness. It’s very telling to their characters.)

Kingdom Hearts is setting up a narrative that Light and Darkness cannot exist in excess. That Light doesn't exist to balance out the Darkness, to stop it from becoming too strong—you need Darkness to exist as well. 

Sora has gotten this far along the story and still hasn't managed to learn this, because it’s just not something you can learn (or unlearn, rather) on your own. Because this kind of thinking isn’t undone with hours of contemplation; in a fitting Kingdom Hearts fashion, it’s connections that lead to the revelation.

the roads we walk

Xehanort and Eraqus fall out with each other. They stop talking and sever the connection with each other. That was a core reason things got as out of hand as they did for each other; they weren't keeping each other in check. Xehanort's Darkness left him blind and unable to see that there was Light after all, and Eraqus's Light blinded him and left him stumbling with a Keyblade for a 'greater purpose.' Their hearts fell too far to one end of the balance, leaving the scales unbalanced.

Riku and Sora do not have that. They have a connection like nothing seen in this series before—Riku had literally raised Sora to become a Child of Destiny alongside him. The Light of their hearts is just so awe-strikingly bright. 

Sora, however, has lost himself in all his light. He is stuck in the same bright room that Eraqus was, stumbling around with his Keyblade. But where Eraqus was forever lost, Sora can be found: because where Riku had Sora to guide him to the Light, Sora will have Riku to guide him through the Darkness. 

Riku spends the majority of his character simply proving that he is capable of redemption. It takes him the ending of a game to realize the errors in his ways and another game to figure out the solution he must fight for, and these weren't revelations he finds on his own—he found the first with Sora and the second (in CoM) with Mickey and Namine.

For Sora to even have the revelation that he cannot keep shutting out the Darkness in him unless he wants more pain for himself and others, he needs someone to help show him that is an option. And who else but Riku, who is living proof that existence isn’t just black-or-white, Light or Darkness?

Riku is Sora's foil. A foil is a character who either has pronounced differences between themselves and the protagonist or is so alike that a contrast appears. Riku is the ladder, similar enough to Sora that one can begin to make assumptions about where the story is heading. Their similarities aren't hard to find: they both hail from Destiny Islands, they both have a love for adventure, they both were assumed to walk a path of Light for the rest of their lives, and they both care deeply for each other. The contrast begins in KH1 when Riku begins his fall to Darkness while Sora remains firm in his standing.

Riku’s arc ended with acceptance; he needed to accept the Darkness and the Light inside him to find peace. It’s only natural that his foil, struggling with the same imbalance, would go through a similar arc but still different enough to be his own.

It isn't just the story telling us this. Riku has always been associated with imagery of dawn, the breaking of Darkness into Light, and Kairi is always associated with imagery of dusk, the breaking of Light into Darkness (which is a conversation all on its own). Sora, on the other hand, is associated with a large blue sky (his name, after all, does mean sky.) It's not hinting towards a journey of any kind—not a redemption like for Riku.

He is the daylight. He is the Light in everyone's lives. But ‘Sora’ doesn't mean the day sky. It simply means sky. Sky, at day or night—and I don't mind if you call me reaching at this point, but it feels like it's calling out to the fact that Sora needs to accept that he is both Light and Darkness, the way the sky is both day and night. 

Nomura has even stated in an interview before when asked about the two different versions of the Dream Drop Distance illustrations that he “wanted its composition and look to remind [the player] of the title’s catch copy, ‘Darkness becomes light, light falls into darkness.’” The parallel structure of the tagline serves to mirror the parallel structure of Sora and Riku’s paths, Sora’s road to night and Riku’s road to dawn.

But I digress. Exhaustively, it’s very apparent that Sora is heading toward a climax, a Darkness he cannot ignore. His breakdown in KH3 was left unspoken, unresolved, and his disappearance only contributes to the fact that he’s heading toward another breaking point, where the cheerful protagonist can no longer remain cheerful. But like in KH3, something is going to be the same: Riku.

At his lowest point, it was Riku who was next to him, telling Sora that he believed in him. It was Riku who carried on when Sora couldn’t. Riku is going to be key in Sora's journey to night. Riku was able to find his Road to Dawn by remembering Sora. He was able to walk by remembering his love, his passion, his everything, and it was because of Sora that Riku found balance. He found the Light within himself, and he learned to accept that the Darkness would always be a part of him, the way it is for others. 

Sora's arc will be spun into motion because of Riku. The next installments of Kingdom Hearts are setting up that Riku's dreams are the key to finding Sora, implying perhaps that it may be Sora and Riku all alone in a world. Whatever the case, Riku is going to be by Sora's side, as that is where they are at their best, to face Sora’s worst.

And it's fitting. Riku had to go from Darkness, defined as a lack of connections, to a balance with Light, having connections. He went from his isolation, wearing a blindfold and not being able to face anyone, to being the charming Riku we all love, fighting alongside the Keyblade wielders. His journey would have him open up, so he would be joined by memories, ghosts, not by people until he began to embrace others.

Sora will be going from Light to a balance with Darkness. He'd be going from connections to a lack (though not in the same extremes that Riku did), in a sense. Understandably, he can’t do it alone, make such a drastic change; he'd need someone.

This change, this balance, this emphasis on connections, it’s guiding us to what the narrative has been trying to tell us all along.

we can be the darkness, and the light, and the sunsets and sunrises too

When asked about the theme of KH3 and the entire series, Nomura answered, “It’s in the title: hearts. The consistent theme across the whole series is ‘What is a heart?’”

Kingdom Hearts is going to be doing something unprecedented in not only a lot of media but in its world itself. While the idea of Light and Darkness existing within characters is not new, the characters aren't exactly behind that idea. Most of the Keyblade Wielders and Guardians of Light cherish the Light above all else—while all the primary villains worship the Darkness. They fight for a balance but don't fully grasp that within (nearly) all of them lies both entities. 

Riku seems to be more accepted in the world, as he did join the Light in the end. But what Sora would do is... just absolutely bonkers. He will be embracing a Darkness in him, the same kind that Terra and so many others were taught to push out. Sora will be... well, a teenager. Happy and angsty and all the things teens are.

This is where Kingdom Hearts has the chance to seal the deal, to fully welcome this balance of Light and Darkness: a relationship between Riku and Sora. 

For all Guardians of Light, there is a generational trauma hanging over their heads and haunting them, and Sora will need to accept his Darkness to combat it, but the story can't end there. The games have been building up the idea that Sora will be the one to bring change to the world, that Sora will be the one to end this cycle. He won’t just accept his Darkness but lead a new age. He will be the one to show that there's a different way (or really, only one other way) to move forward:

Love. 

Unconditional love. Not love depending on whether they fit the wielders' definitions of Light and Darkness, not love depending on the amount of Light in someone's heart, not love clouded by hypocrisy. Just pure love, forever forgiving and growing.

So who better for Sora’s love than Riku?

Let’s get all the arguments for Kairi out of the way first. Some may say that Kairi could still fulfill this role of spreading love in the next games, but that’s only if her role in the story is completely revamped. She represents friends growing apart as they grow older yet remaining close. While Sora and Riku represent a balance between Light and Darkness, Kairi represents holding a Light close to your heart, even when it's so far away; fitting for her story of being ripped apart from her home.

The games keep pushing the friends' growing apart narrative rather than pulling from it, having Kairi remain with Aqua to train while Riku goes after Sora. There is little space for Kairi to suddenly walk a road to dusk that leads to romance. Especially because it’s Sora and Riku who are the Children of Destiny, they are the ones who will connect to other hearts and bring change, not Kairi. Her lesson would be for herself, not for the world to see. 

A relationship between Kairi and Sora would just be backtracking on this message. Sora needs to accept his Darkness, but joining forces with a Princess of Light does not challenge any norms, it does not provide a new answer. It makes sense because the core of Kingdom Hearts isn’t a Prince and Princess of Light—it’s two boys who saw the night sky fall one day, two boys who grew up together, two boys destined for something greater who write their own paths anyway. It’s Sora and Riku. Nomura himself has stated that “Sora and Riku represent the theme of the Kingdom Hearts series, which is the ‘light and dark sides of the heart,’” the essence of this essay. 

Carrying on, some may stop me here and say that their love doesn't need to be romantic for a point to be made. But I argue that there is no other way.

Romantic love in stories often serves as the culmination of the story’s themes. In Leigh Bardugo's books, her romances serve to show the importance of love and healing. In the Shadow & Bone trilogy, Alina has the options between the Darkling, representing power, Nikolai, representing nationalism, and Mal, representing love. Just love. Not one befitting of a Saint, someone to change the world, but that’s not who Alina wanted to be; she just wanted a happy ending. Shockingly, she picks Mal. In Six of Crows, Kaz and Inej's romance, both traumatized teenagers, serves to show that you can heal and you can love. They're both scared of people, scared of intimacy and yet they still love with all their scars on display.

In Revolutionary Girl Utena, the romance between Utena and Anthy reaches its climax at the end of the show, displaying the vulnerability of both girls and the rawness of their feelings. But most importantly, it drives home the message: that the power to bring revolution is not the power of a prince or a witch. The power to change the world is love. The only way to change the world to be suitable to live in is through love. The power, a revolution, brought by love.

Romance is a revolution. It’s often saved for the last act of stories because of how it acts as a thread between all of the themes. In Kingdom Hearts, the theme needing weaving is balance: balance between yourself and others, balance between selflessness and selfishness, balance between Light and Darkness. Sora and Riku getting together would be Yin and Yang—a boy who had to accept his Darkness and a boy who had to fight for his Light. They complement each other and fill where the other lacks. 

Likewise, a relationship between them stresses the importance of connections. Tai Yasue, co-director of the series, has stated that “the theme of the KH series is ‘connections of the heart,’” and the narrative will take advantage of any opportunity to let that theme shine. Previously, many defenders of Light would sacrifice their connections with others for a greater good. But Sora and Riku choosing to love each other, choosing to love the Light and Darkness in each other instead of trying to chase away their Darkness, is showing that love is their other option. 

Sora getting with Kairi challenges nothing. It tells the others that Light must be with Light, that good must be with good. Even their grand attack in Re:Mind is two giant angel wings where they proclaim, “Light!” Sora and Riku, however, show that Light does not mean good. It shows that people can do bad things, and it doesn't make them bad, because people are not black and white. Like two kingdoms forever at war with each other, finally coming together and realizing that the other side is human and that you can't simply demonize them.

Sora and Kairi say there is nothing wrong with the world. To carry on. Sora and Riku say that there isn’t anything wrong with the world; it’s the people looking the wrong way. There is nothing wrong with what’s around us. Nothing wrong, nothing right. “Nothing is whole, and nothing is broken.” It’s simply being: being Darkness, being Light, being both, being neither.

It has to be Sora and Riku. It's always had to be them. Riku brought Sora up to the status of a Child of Destiny, and their journeys were led by each other, their character development taught by one another, and their acceptance will come from (an eventual) conversation between the two about their pain and hurt and Darkness, it’s all always been leading here. To this moment in time where they show the world all the hurt they hold and how they carry on with.

All of that, and loving each other? 

They are crossing the line, as Hikaru Utada sings in Don't Think Twice. They are going to be crossing every line established in Kingdom Hearts, and this is their power. Their revolution. Their predetermined yet self-made destiny. The payoff for years and years of searching and yearning and pining and chasing is a love that brings revolution, and oh...isn't that just romantic? 

That is the answer to “What is a heart?” The heart is the love you have, despite it all. The heart is the connections you make, despite it all. The heart is your Darkness and your Light and your experiences and your fights, despite it all. The heart is Sora and Riku, despite it all.

grant us the power to bring the world revolution

A lot of this analysis really depends on whether or not you believe Sora and Riku are in love with one another, I realize. You may agree with me that it seems fitting that their coming together as a pair would catalyze all the themes in Kingdom Hearts, but you disagree that it means they'd ever be a pairing. Which, I'd like to thank you for at least hearing me out. 

The queerness of their relationship means there will always be naysayers to them getting together, there will always be people claiming that I'm reaching. I do not care if you see them as brothers or ‘just’ really good friends. I see a love story. I see a love story and a love story saying to love, above all else. Do not judge others for you don't know what is wrong or right, for you are biased, for you are flawed, for you are human. Love others for that is the heart's will. Love.

I see that their getting together would be a testament to that love. To that forgiveness, to those flaws we have. It would be an acceptance of Riku's pain and Darkness that he mysteriously doesn't want to acknowledge, it would be an acceptance of Sora's pain that he's been bottling up ever since the beginning of his journey, and it would be an acceptance to the Light they both share. It would be the balance that so many generations have looked for and couldn't find because they did not practice acceptance, only judgment. 

Sora and Riku getting together is acceptance and it's proof that love is the answer to a generational trauma that has been around ever since the beginning of time. So yeah: Soriku Endgame, Actually. 

Thank you so much for reading! I’m a really big fan of stories about light and darkness and the balance between them, stories about love, and just Kingdom Hearts in general. I didn’t want to keep these thoughts in the back of my head and I’m glad I wrote them all out, even if it’s messy (and a shocking 6k words long...) Kingdom Hearts is a bit messy, after all.

If you're interested in more about Sora and Riku's relationship or just literary analysis of KH in general, please check out Constructing Kingdoms on YouTube, as it helped give me the words to write a lot of this essay. Further, if you're in total denial that there is any queer text in Kingdom Hearts, please check out this amazing video essay on Riku being gay. 

That's all I have. Please feel free to share if you have any disagreements or if any parts really spoke to you, or if you have anything to add, or anything really. These two live rent-free in my mind, and I don't mind talking about them or about how they're just so perfect to change the world.

Thank you. Spread love (and the Soriku agenda.)

[aheathen-conceivably]

1, 10, 12, and 25! - lgl

LGL always a joy in the inbox 😊

1. What’s the last screenshot you’ve taken for your story?

Trying to get them spoilers here, huh? 😜

The last screen I took was actually while testing some pose edits. It is a blessed photo, so please enjoy (and speculate)…

10. Is your story fully planned or are you still working things out? is there a definitive end?

Kind of, definitely, and yes.

More specifically, I have a number of specific details planned out. I always like to ramble about how it’s like scaffolding being built toward the sky. The higher you go the less the structure is there, and you can see all the cracks and still need to figure out how to actually get to the next solid point, which is where the inspiration and flexibility comes in. But overall, yes, I have the final scene of the story written. Imma need a whole ass team if I’m ever gunna get there at this rate though 😅

12. Do you actually play the game or do you just use it as a storytelling medium?

Specifically in the Darlington save? Probably like 20/80 at this point. I play between story shoots to kind of mimic the arcs, so it’s more me just imitating my own story in gameplay vs. actually playing the game and letting it influence my writing at all.

25. What inspirations have you drawn on for your story?

Goodness, gracious. Everything? If that’s a fair answer? 😅

Movies I love, books I read, history I’ve studied, songs that hit, fellow storytellers, tropes that make my brain itch, personal experiences, the color of the sky sometimes, a single word my husband says. Honestly? Fun times out here when you’ve got the Darlington brain rot.

To narrow it down I think that the 1890s/1900s were more inspired by my own aesthetics and decades challenges in general, and things got a little more personal around 1910 (which is why I usually tell people that’s when I start to really like the story). Those years were heavily inspired by Downton Abbey and Titanic (of course). And as broad stroke inspiration, I’m sure y’all know I’m fond of the “it glitters so brightly you don’t even see the tragedy until it’s too late” vibes that Titanic has (cue my other favorite films Cabaret and Moulin Rouge).

The 20s are inspired by New Orleans, I cannot state it enough. By everything I felt in my years there and everything I learned during my MA. More specifically, it was heavily drawn from Mister Jelly Roll and Empire of Sin. We also have some Gatsby in there, of course 😉

Now in the 30s I’m really having a blast, because I feel like I’m pulling inspiration for all the previous decades (Gatsby references coming when?) as well as hinting toward future ones (a certain littlest heiress and her obsession with the Wizard of Oz comes to mind). Combined with that is so much rich inspiration for this decade itself, coming heavily from Route 66: A Cultural History and The Grapes of Wrath specifically , as well as broader ideas of Americana, country and blues music, and the symbolism/beauty of the desert.

This decade has also really made me realize just how much inspiration I draw from place, and how it not only influences my style of descriptive writing (which in and of itself is inspired by Anne Rice), but also makes me so interested in how a location and its history influences people and the path of the story. I feel like it grounds me not just in a time period, but how that time period may have been different in specific locations and how different characters react to those factors.

[writingquestionsanswered]

I'm working on a series of books. I have character arcs and the series storyline nailed down. Where I'm struggling is figuring out what plot in book 1 will best support my plans for later books. Book 1 is the foundation the rest will build from. What advice do you have to best figure out the beginning of a series when you have a clearer idea for the middle and ending?

Stuck Plotting Book One in a Series

First, I think it might be helpful at this point not to think of your series as individual stories, but rather as one cohesive story that you'll eventually break up into individual books as the story unfolds. That way, you're just figuring out the beginning of the story rather than thinking of it as a story contained within a book.

Next, remember that stories revolve around conflict, or in other words a problem in the character's self or world that needs to be solved. When you eventually break the bigger story into its individual parts, each one will revolve around its own conflict. The resolution of that conflict should play a role in setting off the events of the next book. For example, the conflict in The Hunger Games was the event itself, and the fact that Katniss needed to survive it so she could continue to take care of her mom and sister. Because of what she did to win the Hunger Games (thus resolving the conflict), President Snow called a Quarter Quell to force her and Peeta back into the arena, which is the conflict of the second book, Catching Fire.

This is why it's so important to figure out your first book's conflict and--if you already know the conflict that will be at the heart of later books--how it relates. You can probably reverse engineer the first book's conflict based on what needs to launch the conflict of book two.

I would suggest using a story structure template/beat sheet to map out the events of your first book. This will help you get a better picture of what needs to happen, which will help you figure out how everything connects to later books. I suggest some options in my post Creating a Detailed Story Outline.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[lucianalight]

Loki God of Stories - A Comparison between MCU and Comics

I’ve never thought I (=Luci @lucianalight ) would say this but MCU did the God of Stories arc right. Having the whole picture after the finale you can see what they were trying to do and how the series was inspired from AoA arc. The series explores a number of themes.

(I’m along for the ride because I can’t just pass up the opportunity to faceplant into Luci’s metas -Hollow @theitcharchives ) 

Control vs Freedom

Chaos vs Order

Finding Purpose and Believing in One's Self

Science-Fiction, and Magic being a Powerful Lie: Approaches to Storytelling

Being Worthy of One’s Own Power

Breaking the Cycle and Rewriting Reality

Conclusion

Congratulations! You've reached the end of this lengthy meta. While I (=Luci) was thinking about writing it, I stumbled upon a post that had a totally different viewpoint than mine. I asked for Hollow's opinion regarding the topic, and after reading their answer I realized it is actually the perfect conclusion this meta can have. 

"God of stories as a librarian would be", as the s2 writer said, does make sense. If Loki gives life to the timelines, then he gives life to everything in them, and allows people to write their own stories, branching instead of having to follow one single "sacred" timeline. Calling him a god of fate and destiny would be counterintuitive, especially for a norse hailing deity, because norse gods’ fates are already written, unable to branch from their path to and during ragnarok. MCU god of stories does make sense, and if we really don't want that title for him in the mcu, he could be the god of choice, but that sounds reductive. God of time also sounds reductive. The writer's definition mentioning myth Loki starts wrong, but it rings true overall and in the end.

MCU loki and comics loki are just two different kinds of gods of stories. Their approach is different but their soul (as I've kept saying for years -Hollow), needs to be and remains the same across universes to keep respecting the original myth loki. Loki is a trickster figure. Tricksters bring chaos, unbalance that leads to change. Pantheons without tricksters are stagnant and never grow, and since pantheons are reflections of the humanity that comes up with them, that's impossible. MCU Loki (by some miracle after the 2017-2021 ordeal) is a trickster. He changes the equation, quite literally erases it, replaces it with chaos that keeps growing. He allows the unbalance to exist and bring change instead of the rigid timeline that constrained. Tricksters allow for stories to happen–myth Loki is the catalyst of almost everything that happens in the norse myths. Comics Loki was and is the catalyst of almost everything that happens in the comics, directly or indirectly through decades of consequences. MCU Loki is now the literal central catalyst of everything that happens in the mcu, in a more direct (consequences of 2011 and 2012) and indirect (consequences of 2023) way. He deserves that title, because he is a chaos bringing trickster, just in a different way.”

(Am I mad when I look for new comics apparitions I have to sift through endless and inaccurate MCU articles? Yes. Am I mad at the 616/19999 confusion? Absolutely. -Hollow)

Finally it is also worth mentioning that while both universes tried to follow a similar arc, AoA generally did a far better job than the Loki series. Themes like friendship, identity, self-love and validating Loki's pain and grievances either lacked nuance or were non-existent in the show. Therefore AoA remains the superior story.

Co-written by Luci and Hollow

[sincerely-sofie]

The piece you wrote awhile back about Twig's passing, has that changed at all since Opal came into the picture?

I’ve been considering that piece noncanonical because of how sad it makes me. Twig dying to a mundane infection after all she’s survived feels fitting in a very sad way, but the more I think about it, the more I feel like it’s a waste— both in-universe and at a meta level— for her to die in her mid 40s. Especially as I add in more cast members to this AU and consider Ark’s perspective.

She’s got so many people to stick around for. I hate the idea of squandering the potential in her interactions with Gengar and Calypso especially just to squeeze out one last drop of angst. And that’s not even to mention Opal, who wasn’t a part of the story when I wrote that piece. If Twig dies when I initially planned, the gal would barely be thirteen when it happens, and I can’t handle that.

When you factor in Ark as well, it’s the most unsatisfying turn around to his character arc. He’s just figuring out that life isn’t doesn’t hate him, and then the woman he loves kicks the bucket after a long, painful, illness that he’s partly to blame for? The ending line of that fic where he laments that it’s not fair rubs me the wrong way looking back on it. I don’t think he’d recover from that, and it’s such a disappointing ending to Twig’s life. She’d be so ticked that her legacy is one of grief and despair instead of fondness and growth.

Instead, I think it would be more interesting for Twig to live far longer than any charmander-line pokemon has on record. She’s a lot more hale and hearty than a charizard in her 80s should ever be, especially when you consider it’s remarkable if they live to 60. There’s an anxiety surrounding her slowed aging, and Ark in particular wonders when the temporal distortion affecting her will waver and she’ll finally pass. It eventually does happen— and Twig is still reluctant to allow people to be there when she does slip away— but she does let Ark be present at his insistence that she doesn’t shut him out during this final stretch of time he has with her.

Twig dies, and it’s not fair— nor will it ever be. There’s grieving to be done in the wake of a loss so deep. Everyone takes it hard, and Ark will never forget the morning he found Opal solemnly flipping through an old sketchpad with drawings Twig left for her to discover in the corners of each page.

It's the first time Ark has ever grappled with immortality like this. He's going to live forever without the person who showed him life was worthwhile. He sees her memory in everything around him, and a century later he still catches himself thinking that Twig would like a certain flower and that he should tell her its name when he gets home. He'll miss her for eternity, and her death will never stop hurting. But he'll never regret being able to learn from and love her.

Opal's been practically raised as a mortal. Grovyle's passing was her first exposure to death that hit her family. She'd seen Dad upset after they attended a funeral for a nidoqueen, but it didn't have the same impact as Grovyle— and nothing was as world-shattering as Mother's death. She bottles it up and hides from her grief at first, only letting herself mourn when she goes through the old sketchbooks she shared with Twig. After a conversation with Lucky, though, she finally lets herself grieve in full, and goes to Ark about it.

It’s difficult to move on, and maybe none of them ever will. But Twig’s death slowly becomes less of a wound and her memory becomes more of a balm. They miss her, and they love her, and her love for them is something they'll never go without feeling.

[ask-meowscarada]

( Previously... )

Blackjack: “First of all, Tricky—I’m so sorry I’ve been so frazzled. I know—”

Party Trick: “don’t.”

Party Trick: “EVER. apologize. for how you feel. i know you’ve been stressed out. your feelings are important.”

Party Trick: “you don’t have to tell me everything. i just need to know you’re okay.”

Blackjack: “...Thank you.”

Blackjack: “Still... I’m sorry for not talking to you sooner. I wanted to tell you exactly what was going on, but I wanted to wait until I was certain I knew what I was feeling. I know I put it off for way too long. I didn’t think about how you would feel.”

Party Trick: “jack i literally feel the emotions of everyone in the house. that’s not your fault. it's not personal. however, i accept your apology for the sake of closure.”

Party Trick: “again. you don’t have to tell me everything—i just need to know you’re okay.”

Blackjack: “I’m okay. I promise. And... I want to tell you everything. It’s pretty embarrassing, but... Someone asked me if I had a crush on you. I, uh, I started overthinking everything and my anxiety got the better of me. Once I cleared my head a bit, I realized I’ve never had romantic feelings for anyone. Like I was doing something wrong, you know? Even though I know that’s not true.”

Blackjack: “I’m still figuring myself out, but... saying I’m asexual feels right. I’m gonna try that for myself. I also found the term aromantic, which resonates with me too, but... I don’t wanna get overwhelmed, so, one thing at a time.”

Party Trick: “i got asked the same thing. fools think i’ll reveal my secrets.”

Blackjack: “But, it did make me realize... Despite all that, I can’t imagine a future without you. Even if it’s not a romantic thing. I... I hope that’s not disappointing for you.”

Party Trick: “jackie.”

Party Trick: “i felt everything you felt. your anxiety, frustration, dread... love. so much love. and it's the same kind of love that i've had for you, all this time. i don't know what kind of love that is, either, but it's ours.”

(( So in between real life things it took a long time to get this post up, but I wanna thank you all so much for not only your patience, but your enthusiasm and participation in this story arc! There are still a few little things to wrap up, but this was the culmination of it all.

First off, a huge thank you to Nans (who also runs @ascendedofthesea) for doing the panels for the telepathy sequence! They turned out perfectly and I'm so in love with their style for it!! <3 (This artwork was commissioned, and I highly recommend commissioning Nans too when they're open!)

Secondly, this is something I've had planned since the blog started. I'm not asexual myself and never intended on telling a story about asexuality, but I certainly wrote this arc with my own experiences with coming out in mind. Plus, ace and aro representation is always important! Anything I wrote from Jack's perspective was inspired heavily by talking with my ace friends over the years, and I hope I portrayed him justly.

Thirdly, I know this post ended sort of vaguely. Since I never want to be seen as baiting anyone, I promise there will be closure! I know what I want to have happen, I just haven't figured out how I'll make it happen yet. We'll let these two have some time to figure things out amongst themselves. :D

Lastly! If you opted in to participate in Jack's pride asks, there's no time limit if you still haven't answered yours! I'll continue to reblog answers that I get as long as people post responses. Jack still wants to hear it, too!

Thanks again to everyone for your patience and for following along with the story. <3 ))