#I'm still writing it of course

[zombee]

i watched The Idea of You and as i am just as brain rotted today as i was in April 2022, immediately started to write a gentlebeard AU.

i was 4000 words in when i remembered the movie is based on a One Direction fanfic.

ope.

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[tippenfunkaport]

That viral post that's going around about how people who write "book quality" mlm fic are too "normal" to publish and have real jobs so only "weird" people publish their "shitty" fanfic is so completely out of touch with reality and I am giving a massive side eye to everyone reblogging it.

Not only is it completely, easily verifiably untrue (you cannot enter any professional writing space without tripping over a dozen grizzled scifi writers who got their start by filing off the serial numbers and publishing their Star Trek fanfic even going back decades ago??? it's a whole thing?? plus how can you look at the mlm category on Amazon right now and say with a straight face that people aren't publishing shitty Spirk and Stucky fanfic??? Oh, honey...) it's also the perfect example of this kind of sneering elitism that true artists would never sully themselves by seeking profit, they do it only for the purity of the thing that always somehow leads back to, "no one should be paid to make art, actually."

The only reason you're seeing more published fanfic right now has nothing to do with the idealistic purity of your hypothetical government employee written smut of the past vs the debased scribbles of those awful straights of today and everything to do with the fact that a) self-publishing has created a voracious readership that wants a ton of content so it's become a viable, flexible income stream for many, especially disabled people b) anyone can publish now with self-publishing tools so there are less gatekeepers and c) lockdown got a lot of people into fandom and therefore writing who never tried it before.

And if you really think there's no "shitty" published mlm and no "book-quality" m/f writing out there that started as fanfic, then you are clearly not a reader so why are you even talking about this?

[listles-s]

man laios and toshiro's/shuro's dynamic is incredibly compelling to me on multiple levels

when you look at them, you can see the cultural and personal barriers that drive almost every single aspect of their relationship, both positively and negatively. laios is incredibly outspoken and driven by his passions, which he expresses freely even in the face of annoyance and/or criticism- he's allowed to be as authentically himself as he pleases, and it's this drive that allows him and the others to survive as long as they have, especially due to the fact that these passions and interests are intertwined with his skills as a dungeon diver. toshiro, in contrast, is incredibly reserved, not only due to his eastern upbringing but also his status as nobility- a combo of cultures that both demand that one save face, to avoid conflict at any cost, even at the expense of one's own feelings and individuality. this, in turn, has made toshiro the perfect samurai, as he's politely-spoken, agreeable, and an honorable, skilled man. both are also incredibly devoted to falin on different levels, having come to accomplish the same mission of her rescue despite drifting apart from the party.

on the flipside, it's these same strengths that cause them to clash- laios is outspoken but unable to truly decipher the emotions of others, leading to a lot of false assumptions and frustration from those who interact with him. toshiro is stoic but to the point of complacency, leading to a aggressively neutral disposition that's ushered by the needs and wants of others, rather than himself. neither man truly knows where they stand with the people important to them in their lives, and hold the ones that they do know how they feel with a fierce admiration expressed in ways that aren't always traditional.

in the end, they both share a growing feeling of isolation from other people that comes to a head when they meet again in the depths of the dungeon, and they both have different ways of coping with the frustrations that arise, seeing the other as only the things they have seen face to face.

it's laios' ability to express himself emotionally without consequence that sparks jealousy in toshiro, leading to a physical fight born out of miscommunication and envy. while toshiro is a driving force in the conflict, it should be noted that the actual fight is started by laios, breaking the dam of indirect communication through force. nothing is more direct than a slap to the face, and it's only after they start hitting each other that toshiro's true feelings come to light.

however, at the end of it all, toshiro is the one who stops torturing himself, listening to laios and giving him the bell, allowing laios and his party entrance into his homeland should they need it, and ultimately giving him support in his mission to defeat the dungeon mage, albeit in his own way. despite it all, they're still good friends with a conflict that boiled over, but came out the other end with a slightly better understanding of each other. the fight was painful for both of them, but it was a necessity for their dynamic to improve, and for them to be made aware of their faults and improve as individuals as well.

but also, if you think about it, their dynamic is literally just this

[sainz100]

2024 Abu Dhabi GP

[aquanutart]

She is offering water to any lost travelers! However, it's so hot that the water has become tea, so she's adjusted accordingly!

[nightmarearian]

blood dripped from Poseidon's mouth, red.

red.

the day they overthrew Kronos, child-eater (stomach acid crawling around them, after maw of teeth grazing his small, child body), his golden ichor bled red.

god blood, degraded into a mortal's.

the day Typhon, father of monsters (as big as their father was, as big as the Titans with sharp claws and teeth) ripped out Zeus' tendons, his blood was red.

Poseidon, god of the tides, son of Kronos, looked up at the dark shape stood above him, his own golden trident in his hand, the teeth like prongs drenched in red.

Odysseus is a mortal. was a human.

sharp webbed ears spread out on the side of their head, scales grew around their neck and arms, shining like a coral reef, illuminated by their growing red eyes, that were shrunken to slits.

Odysseus' teeth glinted in the lightning, showing their unnaturally sharp point.

monster.

[garblegarden]

always fun to consider the implications of big plot events on one's own characters...

[sysig]

Obviously I had to make it a thing (Patreon)

Spoilers for Handplates! Make sure you’re all caught up before continuing!

I ended up scene-picking around the timeline at pretty-much-random, whatever I thought fit the lyrics the best in the moment of blinding inspiration (lol), but now that I’ve got the basics down to paper, I think I’d more carefully choose in mostly-chronological order. That also means some would have to be cut, so I want to show them off here! :D I also drew them all from memory so if there’s inconsistencies, that’s why lol

For example this is one of the very early lyrics, but the events take place well down the timeline! I’m sure I can find a good stand in - mostly I just wanted to draw Papyrus from this scene, ugh I love him ♥ And the lyrics do fit!

Looking back to Sans for reassurance haha. I changed a few of the lyrics to be more Papyrus-specific -

- also featured here! He’s got the Gaster pose going on here hehe, and cutting around in time of him in Snowdin and also back at Asgore’s, him reassuring Asgore about Sans’ HP is so cute, I had to make reference to it haha

Happiest little sibling spinnies <3 <3 Probably the cutest panel of the whole bunch honestly haha ♥ Their little faces!! Ugh 💕

One of those instances of the lyrical contradictions, and I think I would keep this jump forward - everything has changed! And they’re really not okay, but they have each other

The one makes me laugh honestly, a bit dark lol. All their safe people, except for the two that take up the rear of each. I mean, technically it’s not inaccurate with Flowey’s, he won’t be alone! Unfortunately. The human, well

Started settling into a rhythm by this point, and rather pleased for it :) Poor Papyrus! He didn’t do anything wrong and he still has all these sad feelings about it!

All catching up to him :( You can only run from and ignore your problems for so long - this line feels so him, dealing with what their world is and all that entails, poorly

I appreciate the fact that Papyrus has this dream several times, it fits lots of places! Gaster look what you did to him even when you don’t exist anymore

Papyrus as an adult! Though he also is in the one with him and Sans dream-sharing. Things start breaking real bad for him, I’m still not over how good this song is lol

I did admittedly go a little over-the-top with these, he was not crying this much but I just jsalfdjfds this scene is so- much. So much! The lyrics goaded me, blame them haha - and also the attention to his neck! Even if it’s not in reference to choking on tears specifically, still drawn to the same place! I love Sans going to comfort him as well as rally him ahhhhh

I got his Soul glitches wrong haha, but seriously! This song, I swear!!

A bit of irony - he’s being heard! So much! Just not listened to. I am so enamoured with his pose callbacks throughout the entire comic ugh, so beautifully done

Handing off the song for a moment to someone who actually can rewind it - I don’t think I’ve ever drawn a Genocide Run human now that I think of it :0 It was so satisfying to draw Gaster kneeling on the ground like that haha, contact points were - on point ✨ for this doodle session hehehe

Originally I had his glow coloured in purple but this was one that I actually went back to look at (because I love this scene so much hhgggg <3 <3 <3) and had to change to his natural colour - he deserves it!! He’s earned it!!

I’ve honestly fallen more in love with this song through him and vice versa haha ♪ It’d be quite a bit before/if I could make a full version, even just with what I’ve got here, but it was so fun to draw at all ♥

[owl-bones]

I mean, in defense of people who are hesitant about trusting fae dream... he did turn someone into an exotic pet before.

that didn't actually happen, that was just a drabble i developed and people asked for elaboration on sldfjlsfjs. it's technically a non-canon event, it's just on the blog and tagged and all that because it's still a (hypothetical) part of the story and there's some characterisation stuff in there. but the MC wasn't his pet, they were just a bird for the deal to work. he still treated them like a member of his court.

and i get where people are coming from, but if you're hesitant about trusting Dream you should extend that hesitancy to all the fae. especially Nightmare. between the two of them Nightmare is far more likely to trick you into a deal that you don't like, or that causes you to lose something of importance. it's just that nobody's asked about anything like that, so all they've seen is Dream being the poster-child for fae shenanigans lskdfjlsdsljfkd

like. Blue is the 'nicest' fae out of all of them when it comes to avoiding deals and giving humans leeway and helping them out, but that doesn't make Dream the worst (that'd be Killer)

tricks and wordplay are a major part of fae stories, and to ignore them completely to sanitise the characters and make them more approachable is disingenuous. Dream's a nice, friendly guy, yes, but he's still a fae and will trick you. Nightmare is cold and aloof but fair, and he will also trick you. Dream's not the bad guy, there is no bad guy, that is just their nature ദ്ദി ꒦ິ꒳꒦ິ )✧

[nattikay]

So apparently it's now been officially confirmed that the "Mangkwan" clan briefly mentioned at the end of The Next Shadow comics IS indeed the "ash clan" that will be featured in Fire and Ash (a lot of people speculated this before but it wasn't confirmed until now).

...which is all fine and dandy, except that kw is still not a valid consonant cluster, Karyu Pawl plz explain, the language nerds are crying 😭 Was this perhaps a typo of Mangkuan or Mangkawn? Or a new dialect that allows for more clusters? Or something else?

Right now my theory is that it's gonna be Mangkuan and the Mangkuan vs Mangkwan spelling difference will essentially be the same as Omatikaya vs Omaticaya (the first one being the technically "correct" one per Na'vi phonetics but the second still showing up in some canon material).

Part of the problem here, I think, comes down to what I'm gonna call the Cameron Paradox. James Cameron didn't create the Na'vi language; he created a small list of words, as well as all the character names (from the movies at least, idk about the comics and games), then hired linguist Paul Frommer (Karyu Pawl) to do the rest. Cameron's grammatical/phonetic/etc understanding of the language Frommer built, from what I can tell, seems to be pretty limited; those details are Frommer's realm. So it's very possible that Cameron chose the name Mangkwan because it sounded cool and simply had no idea that it's technically invalid within the sound system Frommer set up.

However...while Cameron himself isn't the one who created the Na'vi language, he does technically own it. It's a commissioned work and therefore Cameron, as the commissioner, has the power to override Frommer if he wishes. If Cameron has his heart set on "Mangkwan", Frommer doesn't really have a choice but to work around that. He might end up doing that by hand-waving it as a special spelling variation of "Mangkuan" (again like the explanation of c vs k in Omatikaya), or he might end up doing it by incorporating some sort of special new dialect rules for the Ash People. Or maybe some other solution that I haven't thought of. We just don't know yet.

...and Karyu Pawl might not actually be legally allowed to address it until after the movie's release date, so we might be waiting for a quite a while to find out ;w;

[jubilantmedusa]

Untitled Zukka Hurt/Comfort Ficlet #1 (because practicing drawing means I need to write little mini fics I guess...)

“You’re sick.” Sokka’s voice was as calm as the surface of water on a still night. Not a hint of accusation or contempt. No softness, no sting. Only observation. Reflection.

Zuko took a breath, deep to sooth his limbs that were threatening to shake. “I’m fine.”

Sokka frowned, and Zuko felt a knot form instantly in his stomach. His shivered, vision swimming as he saw the flash of another frown, superimposed. A different frown. Harsh. Sharp.

Sokka’s movements were calm. Fluid. Gentle as he raised his hand to Zuko’s forehead and pressed with just the right amount of pressure. “You have a fever.” Zuko felt his heartbeat pick up as Sokka’s lip began to curl, but as his expression settled Zuko realized that Sokka wasn’t angry, just concerned.

Zuko breathed deeply, pinning his arms to his sides before the other boy could notice that he was shaking now. Only, he must not have been fast enough because Sokka dropped his hand from Zuko’s forehead to grab Zuko’s trembling fingers. 

“Your hands are freezing.” Sokka hand tightened around Zuko’s as he pulled it upwards, pressing it against his mouth. Zuko couldn’t stop his hands from shaking even harder as Sokka’s breath warmed his skin.

—

“I can do that.” Zuko reached to grab his sleeping bag. “I’m fine.” Sokka lifted it over his head like they were kids playing keep away. Zuko huffed, crossing his arms, but let Sokka keep it.

“You’re not fine.” Sokka spread of the blanket. “How long have you been feeling sick?”

“Ugg.” Sokka paused. He looked up, holding  Zuko’s gaze until Zuko finally drawled, two days? maybe three.”

“Three days?!” Zuko felt his pulse quickening again, his shoulders bracing. “Why didn’t you say anything!” Even though Sokka’s voice voice was high he didn’t sound angry. In fact… Sokka’s eyebrows were scrunched, lips pressed thin. “You were training Aang this morning. Zuko, you shouldn’t be bending like that if you’re sick “ Sokka was worried.

“I’m fine.” How many times had Zuko said that now? “It’s just a fever. It’ll go away.”

“I mean, sure it will, if you rest. Can you, uh…” He gestured towards the sleeping bag, laid out and waiting.

“Oh.” It felt awkward to lower himself down when his legs felt so much like jelly, Zuko was sure it wasn’t graceful. But Sokka didn’t say anything, just stood there, eyebrow raised. Waiting. Zuko realized, then, that he was supposed to lay all the way down. So he did, somehow feeling boneless now that he wasn’t holding himself up. 

He blinked as Sokka settled a blanket over to his shoulders. It took Zuko and absurd number of seconds to realize that it was a blue blanket, one of Sokka’s own. Woven. Thick. Soft.

“Comfortable?” Sokka asked. When Zuko met his eyes he smiled.

It was nice, seeing Sokka smile. Zuko wanted to smile back, but he… there was a quivering in his stomach. Not sickness, just… waiting. “I’m fine,” Zukp said. When Sokka raised an eyebrow, he added, “I… feel fine.”

“I doubt that,” Sokka said.

“I do,” Zuko insisted. Yes, his body felt suddenly heavy. And his skin buzzed strange sensitivity that made event he gentlest touch feel like a scratch. But he was lying on his side, on something soft, and he was warm. “I… thank you.”

Sokka shrugged. “I didn’t do much,” he said. “Do you need anything else?”

Zuko thought for a moment. “Water?” He croaked.

“Coming right up, bud.”

Zuko let his eyes close for a moment, just listening to the sound of Sokka’s footsteps as he went back to the packs, the rustling of fabric as he was digging through something. Then there was a feeling, something hard brushing his fingers. Zuko opened his eyes to see a small, green glass. “A Ba Sing Se souvenir cup?”

“It was on sale,” Sokka said, chuckling. “Drink it. It’s medicine.”

“For what?” Zuko asked.

“The fever?” Sokka reminded him. “Do they… umm… not treat fevers in the Fire Nation or something?”

“Of course they do.” Zuko propped himself up just enough to tip the bitter liquid into his mouth before settling down again.

More sounds of shuffling as Sokka lowered himself, and then Zuko felt weight on his back as Sokka pressed into him, a hand settling itself onto his arm. Sokka’s touch was firm, but quiet. Soft. Sweet. “But not yours?” Sokka sounded sad.

Zuko swallowed. He remembered that feeling, tossing and turning as his skin crawled and his stomach churned. Waking up with a sweat drenched face but father still expected Zuko to do his katas. Run through his katas, go to school, sit up straight. There was punishment for slouching, even if he only slouched because he was shivering so hard he couldn’t mind his posture. “We were being trained to rule, Azula and I. Countries don’t stop because you have a cold.”

Sokka didn’t say anything, just started rubbing his arm. 

“You can rest now,” Sokka said after a while. “I can take care of you.”

Take care of him? Zuko tried to remember the last time someone had taken care of him. His Uncle had tried, of course, but Zuko had always pushed him away. He couldn’t let himself be seen that way - weak, sick. So he ignored the quiver in his Uncle’s voice when Iroh spoke to him from the other side of a metal door. And before that… before that his mother would, when father would let her. When Zuko was so sick that she’d block his bed with her body to keep father away, even if it cost her. Then sit with him and fuss his hair back with slender fingers.

“I’ll take good care of you,” Sokka said.

Zuko took a deep breath in. Not a sigh, just a breath, one to fill him up. He could feel his heart starting to race again, but... nicer this time, with Sokka so warm and solid against his back. He let the breath out. Slow. Controlled. Eyes still closed, he whispered, “Okay.”

[adhdtsukasa]

prosekai au where everything is absolutely the same except niigo, instead of being a music circle, is a fanfiction writing-ish group. kanade is a writer, mafuyu is her beta reader, ena makes fancomics based on kanade's fanworks and mizuki makes trailers for upcoming fics. and basically that's it. niigo lore but everything revolves around them being wattpad ao3 users

[miraculouslbcnreactions]

Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.

S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)

So what I’m asking is…what do you mean “Chloe doesn’t have growth”?

I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)

I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).

That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.

But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.

Character Establishment

When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.

When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.

For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.

Character Growth

Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.

Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.

Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.

Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.

Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.

This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!

Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)

As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.

This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.

Let's Talk About Chloe

Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.

Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.

Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.

The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.

Let's look at some examples to drive home what I mean.

Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:

Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!

And this confession from Antibug:

Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.

So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.

That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!

In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:

Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)

and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.

Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:

[Image description: Chloe and Andre hugging and looking very happy to be together]

Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.

Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?

Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.

The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.

This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.

Then, in the heightened emotions directly after the Zombizou win, we get this:

Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.

A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:

Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.

And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.

Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.

Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:

Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!

For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.

Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:

Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)

Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!

As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.

So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.

I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.

Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!

Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?

Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.

To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.

[hamletshoeratio]

Can y'all just be you know normal Marina Thompson for like 5 seconds? Because christ, the sheer Misogynoir that some of you spread about her character is insane and you don't even realise it.