#also i think if youre going to give underdeveloped characters more personality

[astuteology]

ִֶָ𓏲࣪𖹭ASTROLOGY NOTESִֶָ𓏲࣪𖹭

● Scorpio venus- gets sexualized alot. Many people would fantasize about these people but will not let them know. MANYYYY have crushes on them.👀

● Capricorn + Scorpio placements- are either very naive and easily influenced/manipulated or the manipulator themselves. BUT the way their mind worksss.. ufff... they get shit done, they have solutions to e.v.e.r.y.t.h.i.n.g. Can become a lawyer cuz mann you can't win against them. Everrrr.

● Capricorn/ aquarius or earth sign placements/degrees- you would rarely see them support astrology. They'll show interest if you're telling them everything good about their sign, as soon as you get to the negative part.... out the door🚶🏻‍♀️(although it's not always the case)

● In synastry if you have- venus square north node/ venus square saturn, venus square neptune, venus square uranus.... its not going to be a long lasting relationship. Cuz venus, the planet of love, is literally denied its main role. Degrees matter too, more than 5, can work. Less than 5, probably not.

● sagittarius placements- go from being fun and adventurous to being serious and mature. As the grow older, they start understanding life on a deeper level. Also, sagittarius placements are quite lucky (see where it is placed or where jupiter is placed.)

●Neptune/pluto/lilith/mars- on the ascendant, doesn't matter the aspect, GAIN ATTENTION WHEREVER THEY GO. People be turning their heads to look at you. You're random people's crush. And those who feel threatened by your presence, tries to spread false rumors about you or tell you that you're 'too bossy' 'too much' too this and that. They're just jealous cuz you got the IT factor in you and you not only gain everyone's attention but also their crushes 😌.

● Taurus placements- they have a very soothing voice. Their voice gain everyone's attention around them. Even if its noisy, as soon as a Taurus start saying something, everything gets quite. Its just the way they talk, they can have a deep or soft voice, but the way they speak is very beautiful.

● Libra placements- are superrrr nice. They're always there for you. They feel nice and happy when the people close to them are happy. Since libra is the sign of balance, they know when to be nice and when to be a bitch... so don't ever walk over them, You won't like it.

● I think aries and Capricorn placements- are the only placements that fear failure ALOT. Like ALOT. Even if they don't have a way, they'll make one. They have to do something, they can't just sit and relax, their soul won't let them.

● 12th house placements will know things beforehand due to overthinking. They would know if this friend of them is going to betray them. They start feeling uneasy somewhere in their body. With the 8th house placements, once they trust, they give their trust to you 100% and they usually gets backstabbed. Then they stop trusting people completely.

● Underdeveloped Scorpio placements- if your crush is a scorpio or has prominent scorpio placements, please stay away. They are usually involved with someone but keep it hidden. You won't know it until and unless they tell you, which they never. So its better to keep your heart safe than knowing at the end that they were involved with someone all this time.

● (in synastry) Underdeveloped scorpio venus and pisces venus- toxic, manipulative and narcissistic together. They talk shit about their close friends with each other. They turn against their friends. They develop, a kind of, superiority complex.

⋆⋅☆⋅⋆Dark side of underdeveloped placements:

▪︎ Capricorns- rude af. Very mean for no reason. They think they are the main character. No honey you're just a bitch.

▪︎ scorpios- fucking cheaters. One person is not enough for them. Very toxic. Will body/slut shame you behind your back. Oh and secrets??? What are those? Now everyone knows them.

▪︎ Aries- can yall stop playing victim card and become more mature and responsible please? What's with yall crying and throwing a tantrum to get your point proven right? Ridiculous. Also stop guilt tripping people.

▪︎ taurus- why do you feel good when someone has less than you?? Why do you judge people when you yourself are negative.

▪︎ Gemini- yall try so fucking hard to get attention. Yall really dont get a hint that your crush doesn't wanna talk to you huh? You irritate alot of people around you. Very pick me energy with this. And no youre not know it all.

▪︎ Cancer- these bitches ruin 'THE CANCER' reputation. They go around lying about everything. Share someone else's secrets'. Puts blame on the other person.

▪︎ leo- yall need to be humbled very bad. Everything depends on your mood and self esteem huh? Yall throw people's past on their face in front of everyone when yall get pissed. Istg you feel better and satisfied when someone is put down in front of you.

▪︎ aquarius- please shut up with the false conclusions. Yall never accept your fault. You fuck up someone's mind then tell everyone they're crazy for acting like that.

▪︎ pisces- no not everyone is in love with you. Get out of your head please. Stop messing with people's feelings' and mind. Stop being avoidant. Stop being a bitch.

▪︎ virgo- DONT force your thoughts on someone else. Dont criticize them for having their own thoughts. Anyone can have different thoughts. And stop trying to subconsciously control people. You make people walk on egg shells.

▪︎libra- stop being 2 faced. Youre not everything a person desires.

▪︎ sagittarius- you make people fall for you then use them and throw away. Say it with me bitch...... people 🔪 are🔪 not🔪 for🔪 fun🔪. Also even if you have everything, yall still act like you got nothing. You dont help people. You only care about yourself.

—–- ⋆⋅☆⋅⋆ ––—

Thank you 🩷

[madlori]

If the only thing you can lord over buddie is that bucktommy is canon, then you really didn't care at all about the ship.

7 seasons of being a family unit, being there for each other, having each other's back but hey! Here comes another underdeveloped love interest, but since it's a man this time, you don't care about Buck being stuck in the same hamster wheel, again, because he's kissing a man and that's hot 🙄

Also for all your doom and gloom about buddie not happening, do remember that Tommy/Eddie was an idea in Tim's mind at first, so Eddie can be read as queer, even if it's not in canon yet.

I guess you don't place much value on them being a family unit and always there for each other, and having each other's back...all of which is still true and will continue to BE true. But it's only important to you as a prelude to them kissing, right? It has no value in and of itself. I love their relationship. I love what they are to each other. But YOU are making me not want to see it, because every time they turn to each other, lean on each other, support each other, we have to listen to you shrieking BUDDIE CANON CONFIRMED or whatever, because to a certain genre of shipper (not all buddie shippers, etc) any interaction or feeling they have with each other exists only in service to the ship.

I swear to god, I'm gonna banish the phrase "hamster wheel" from y'all's mouths until I get an actual definition as to what you think it means, because from where I sit, to you it just means "he's with someone who's not Eddie." To me, it means that Buck continually fell bass-ackwards into relationships that weren't right for him, looking for something he wasn't even sure what it was. And heyyyyy, he's currently in a relationship that he actively chose and fought for, having learned something new and important about himself, with someone who makes him giddy and excited in a way we have never seen him be, who the people around him can see gives him contentment. But none of that matters, because it's not Eddie, and that is by definition his only appropriate partner, so he must still be on that hamster wheel. Also if we're going by creator intent here, Tim's said he wrote this relationship specifically to reflect Buck being off of it.

As for underdeveloped love interest? I wrote an entire ass essay about how MUCH we know about Tommy, and it's reams compared to anything we've ever known about Buck's girlfriends OR Eddie's current girlfriend who does not even have a last name. Tommy has been introduced in a way that integrates him with the 118, with multiple interests, a character arc of his own from his first appearance, a set of motivations and emotional arcs that are NOT about Buck, and something to actually offer in a relationship besides existing. Anyone saying he's underdeveloped is determined to read him as such, especially for the limited amount of time we've had him.

And I never said Eddie couldn't be read as queer. He can EASILY be read as queer. I said he WOULDN'T be. Those are two different things. If Tommy and Eddie had gotten together (which I give no more narrative weight to than Maddie and Eddie getting together, which was also a gleam in the eye at one point) I'd equally be saying that Buck would never be queer.

It's hilarious to me that I'm being accused of liking a ship because it's hot (it is, and I do, and that's...fine? there's nothing bad about that?) as if people enjoy Buddie because of the amorphous purity of it all and not at ALL because it's hot (it is and you should say so).

If my thoughts about this are so upsetting to you, just block me, dude. I promise I won't take it personally.

Also, just...learn to enjoy a ship whether it's canon or not. I've done it, we've all done it. It's not that hard, especially THIS ship, which has so much good stuff to it regardless of whether there's romance or not. Those of us who like Buck with Tommy are not taking away from you enjoying Buddie, or anyone doing so. It's not like...the State of Buddie will lose congressional representation if the population falls below a certain level. The existence of another ship does not affect yours.

[fantasy-anatomy-analyst]

hello! sorry to bother you but i am currently working on character designs for my next d&d campaign. i am creating a winged elf inspired by avariels, and he will have some form of physical disability which causes them to be unable to fly. however, i am not very educated about physical disabilities, so do you know any which might affect limbs such as wings and any ways i could portray life with them and accommodations for them in a respectful way? any tips are appreciated. thank you :)))

Wing disabilities are a bit harder to research than regular human limb disabilities, but you might be amused to learn that the very first thing i found upon a quick search for bird wing deformities was something called "angel wing", found in many different bird species. I've linked the article I found. It develops over time and can be corrected, but obviously when it happens in wild birds they have no means to fix it on their own and it becomes permanent.

Angel wing is a deformation of the wrist area, making it droop and then turn outwards. Once it's permanent, the crooked shape of the wing makes flight impossible. If a winged humanoid had this problem, they would need to worry about things like how far the crooked wing sticks out, maybe bracing it to alleviate chronic pain. I'm sure something like that would cause pain, even if it wasn't mentioned in the article. It may be helpful to clip the feathers on that part of the wing, so they're not in the way. Finding a comfortable sleep position may also be a bit tricky.

Other possible wing disabilities which I have not researched at all but sound like plausible congenital issues for people with wings:

- underdeveloped wings. They never get big enough for flight, maybe the feathers never grow in properly, possibly they're also shaped wrong for flight. Could come with chronic pain, weak muscles/atrophy, etc.

- missing wing. Somehow just didn't develop a wing, or developed a nub where the wing should be. Could also be missing just the "hand" part of the wing.

- general feather growth problems. Weak feathers, feathers that come in short, chronic molting that causes a lot of unhelpful bald patches, etc.

- chronic joint pain. Wings appear to be normal, but the joints hurt a lot and movement is difficult.

You can also go the route of disability by injury, having a wing broken or amputated or otherwise harmed in a way that is difficult or impossible to recover from.

Overall, the accommodations needed could include pain relief, a brace to keep the wing in a comfortable folded position, feather clipping, massages, etc. Mobitiy aids to let this character fly without the use of their wings is easy to handle in fantasy because you could give him an enchanted flying device of some sort. Magical prosthetic wing might work, but that depends on the disability you're working with and also wing prosthetics are pretty tricky. It would not be as functional as a real wing. If the wings are fully grown and intact, but the problem is something like joint pain, then a flight brace to steady the wings could be useful. They'd only be able to fly for short bursts though, probably. But it would be akin to giving someone leg braces so they can walk, while also having access to crutches or a wheelchair. You can work with your dm on figuring out what's allowed in the campaign setting.

As for being respectful in how you portray the character, I think the most important thing is to let them be a full person. The disability is obviously a major part of their life, but they ought to have more personality than that. Hobbies, interests, attitude.

They're also allowed to be sad about the disability, but this should not be their main defining trait. I think it is pretty normal to be sad that you have a physical difference preventing you from doing something other people can easily do. The problem in fictional characters who are sad about their disabilities is that it often becomes Their Entire Thing and then the character arc is either "so I became evil about it" or "and then they died" or "but there was a magical perfect fix!" all of which obviously don't respect the reality of being disabled. But making them totally happy go lucky about it also doesn't work. So you just need the middle area there, as that's the most realistic one. How does it feel to have a permanent disability? Well, it ends up feeling pretty normal when you're used to it. Sometimes it sucks a lot. Sometimes you hardly pay attention to it. Focus on making your character emotionally varied and give them an interesting personality that makes their interactions with other characters more fun.

Roleplay games are great for that, because you'll have to mesh with the group and really flesh out your character relationships as you go.

Anyway I hope that was all helpful! No illustrations to show, because I'm sleepy today. But good luck with your character! And maybe go check out @cripplecharacters for extra advice on generalized disability rep if you haven't already!

[golfishwiththebigeyes]

spoilers for madoka magica rebellion

Okay I’m gonna be so honest, I don’t think rebellion did wrong by Homura’s character at all. Imagine for a moment, you’ve spent ten to twelve years of your life reliving the same month over and over and over, trying and failing time after time to keep the girl you love alive, hoping that just once you can go through the correct sequence of events to keep her alive (also you’re in 8th grade, your brain is still deeply underdeveloped even as you take in more tragedy and experience than just about any other person your age ever has). In every timeline, people never listen to you and the girl you love keeps dying. To you, it seems like you just keep letting her die, over and over. This culminates, you finally seem to have succeeded in at least one goal, even if you die here, even if you have to reset the timeline again, at least you know it’s possible to keep her from becoming a magical girl. And then she becomes a whole ass god, she gives up all of herself for the sake of the universe. Only you remain, alone, the only person who can truly remember her as she was. Then, miraculously, somehow you are in a world where you can see her again. You can speak to her again, as she talks to you you know you didn’t make her up, she isn’t an illusion this is her again. And when you tell her about what you’ve experienced, as if it were a dream, she asserts to you, in no uncertain terms, that she would never do that. What was it all for if she didn’t want this? If she’s been alone and terrified in a space between existence? You were supposed to protect her and you were supposed to make sure she was safe and happy and you let her do something she just told you she would never in her right mind do. That is soul crushing.

And so you go, and you try your hardest to keep her out of danger again, even if it means sacrificing yourself, but she just will not let you. She refuses to let you destroy yourself for her sake, with a resolve you tried and failed to have. She saves you, just as she has always saved you, because she is stronger than you. You wanted to protect her, but somehow she always just ends up protecting you. So you’re at the end, she’s about to take your soul to a peaceful rest, and continue sacrificing for the rest of her existence. Absolutely not. You can’t just be weak again, you can’t let her do this anymore. Even if it means hurting her, even if it means she’ll hate you, even if it means you’ll never be able to be with her on the same side again, you will not let her do this to herself any longer.

It’s tragic, and maybe it’s misguided. But I do not think it’s out of character at all

[zel-zo]

Hey so you know how in the Izuru-Fuyuhiko conversation, Izuru assumes Fuyuhiko intends to use Izuru for his talents? And Fuyuhiko refutes that like right away. Based on the recent art you made, do you have any thoughts on Izuru making himself useful (as a meat shield apparently) anyway? Izuru usefulness complex vs. Fuyuhiko 'people arent tools' complex or something like that? Sorry if this is a strange ask to get out of the blue haha I am interested in the narrative.

Ok so this is a FANTASTIC question and it took all my restraint not to send back an entire essay lmao💛💛💛 (correction^ I wrote 544 words of this so, maybe a LITTLE bit of an essay)

So, here are my thoughts on Izuru and Fuyuhiko's potential relationship in DRS:US:

I feel like the reason that Izuru may in fact stay with Fuyuhiko in this scenario (I mean, he outright says that if he were told to be free without orders he would probably just disappear overseas and cut contact,) is Fuyuhuko’s resolve not to use Izuru for his talents. I think that, in one way or another, this wont sit right with Izuru, who can easily reason out the fact that he’s a passive force until acted upon, and if acted upon (or used) for the good of humanity, that would have an overall better net benefit to the world than valuing his independence and letting his talents go to waste. As little as Izuru seems to care about anything, the thought process behind letting him do whatever he wants and not like, idk, make him cure cancer, is an absolutely atrocious error in judgement and has to be the fault of some under-developed moral code of Fuyuhuko’s. I think this intrigue is part of why Izuru would want to stay with Fuyuhuko: to see how long it will take for Fuyu, given ample opportunity, to abandon his personal code and start using Izuru (weather for humanity’s benefit or his own).

Note: I also think this is why Izuru would “make himself useful” (like the meat shield incident). By showing how much he could benefit Fuyuhiko when his talents are used, he’s subtly testing his resolve to keep refraining from doing so.

On the FLIP side we have Fuyuhiko, who’s honestly got a point. He’s definitely not thinking of it in the same big moral strokes that Izuru is, but he is thinking of the basic gist of it: What should you value more, a person’s freedom or the good they can do? In his (learned) opinion, the value a person’s life has and the potential they have for good aren’t exclusive, but that person needs to do the good on their own for it to have meaning. His relationship with Peko comes to mind hard here as someone who has been given a role and carried it out perfectly, denying their own free will in the process. Fuyu doesn’t go through the same lesson in the same way as DR2, but it’s clear that he’s coming to similar conclusions about valuing Peko’s free will in their DRUS interactions. I feel like, similarly, Fuyu would just want Izuru to start giving a damn about being used by people and stop treating himself like a means to an end.

So, does this turn into a genuine friendship? Something more?... Maybe??? I see a lot of interpretations of Izuru’s character were he’s an unfeeling machine, which I personally really dislike. I mean, the man has enough emotion to be bored by being unable to be surprised by anything anymore. He does Cry, even if he doesn’t know why. In my eyes, Izuru is mentally incredibly developed, but emotionally underdeveloped because of his emphasis on learning and usefulness since his ‘creation’. So, these two’s relationship is both ambiguous and up for interpretation, but I do think it has room for Izuru to come to understand Fuyuhuko’s thinking and maybe even start caring for him eventually. Honestly it’s all up to your personal interpretation of Izuru’s character!

But yea, those are just my thoughts! Let me know Your own interpretation!! I love these characters and always wanna hear other people's thoughts on them!!! 💛

[miraculouslbcnreactions]

How would you have handled the other miraculous holders?

I would have massively cut them down. The season two lineup was fantastic, though you could get away with two or three more. Eight really is about the max you can hit for a team before you start bloating the characters assuming that you're only dealing with one central group. If you're dealing with lots of side teams, then things get more complex.

There's a concept in writing called "Kill your darlings," which I'm only mentioning so that you have something to Google if you want to know more than what I'm about to tell you. The basic idea is this: to tell a good story, you need to be willing to cut things you like if they're detracting from your overall story.

As a personal example, I really like Juleka and Rose. I think they're cute and I like putting them together as a couple. But narratively speaking? They don't matter. You could cut them from the story and nothing would change because they're just casual friends to Marinette and Marinette really doesn't need more close friends for the stories I want to tell. Add in the fact that Purple Tigress and Pigella have awkward power sets that aren't all that interesting and, yeah, my love for these two does not override the fact that they have no place in the stories I want to tell. So I find ways to mention Juleka and Rose from time to time and I use them in a scene when I can, but most of the time? They're not in my stories because the goal of my stories is usually love square shenanigans and not showing off a cute healthy sapphic couple.

Similarly, the goal of Miraculous is the tales of Ladynette and Chatdrien, so the focus needs to be on them and these extra characters are really not needed. A fact that's super clear because of how underdeveloped the side heroes are. Most of them get a single recruitment episode and that's it. There's no build up to establish them as solid heroes, leading to them eventually being chosen. It's all shoehorned into 20 minutes and then largely ignored after that. I mean, Nino has been Carapace since season 2 and he's in a mere handful of episodes, none of which are all important character moments outside of his initial debut. The only temp heroes with anything interesting going on are Viperion, Queen Bee, and Rena Rouge/Furtive.

If I HAD to include the other holders? Then I would have massively cut back the love square content and come up with ways to power up the butterfly so that the extra heroes felt necessary. I might have even brought in additional forces of evil to battle. I also would have given the various team member clearer roles and given them their miraculous full time because you really do need to make massive changes for the team setup to work.

Team shows are wildly different from dynamic duo setups. Compare Kim Possible to Teen Titans and think about how different the focus is. Kim Possible has two very clear main characters while the supporting cast takes back seats. Teen Titans doesn't have a clear main character. All five Titans are given a chance to shine as the main character shifts from episode to episode and even season to season with each Titan getting a chance to be the center of an ongoing plot. If you want to have a team while keeping Chat Noir and Ladybug at the center of the story, then you need to build that team around them which you really can't do if you have a massive team of 18. A smaller team, though? You can make that work. For example, I still think Chloe's recruitment should have been a chance to give Adrien a character arc around boundaries and trust because it's really hard to jump into parent/child conflicts. Starting with a best friend one with the same vibe is a much easier path.

[imagitory]

Hey all! So recently Wish was added to Disney+, and I thought it might be a good opportunity for me to watch it again for the first time since I saw it in theaters. I asked you all what I should write about after watching it, and in the end, the top answers were an analysis of the criticism surrounding Wish and something focusing more on the positive aspects of the movie, rather than just the usual mindless bashing.

So that's what I intend to write! A look back at some of the common criticisms I've heard about the film, and how much weight they actually have.

Now, before we begin, I should put in a disclaimer -- I don't particularly like Wish as a film. I think it had ridiculous amounts of potential that were likely hampered by corporate decisions, but I personally find it to be one of Disney's weaker animated films. That being said, as promised, I will make any critiques I do include as balanced as I can, and I will try to include praise where I can too.

So let's start!

"Asha is a badly written character because she has no character arc."

This is a critique I actually found on a list also discussing valid criticism of Wish, and I knew I had to include it, because even BEFORE I rewatched the movie, I thought it was a bit unfair. Because here's the thing: there are plenty of good films, Disney or otherwise, where the main character doesn't have/need a character arc. All of Walt's original three princesses, Snow White, Cinderella, and Aurora, don't have character arcs. Ariel doesn't have an arc either -- instead her father Triton is the one who goes through a change of heart. Neither does Pongo, or Basil of Baker Street, or Robin Hood. Indiana Jones doesn't go through any real character development in Raiders of the Lost Ark, yet he was interesting enough to inspire a whole movie series! with mixed results. The important part is that even if a main character doesn't develop personality-wise, we should still be able to root for them and want them to achieve their goal. We don't want Cinderella to be abused by her stepfamily -- we want her to find someone who loves her and will take care of her the way she takes care of others. Although it can be more interesting to give your characters an arc while they pursue their goals, it isn't necessary to tell a good story or write a compelling character. Sometimes a story can be more focused on how their life circumstances or environment changes around them.

Another criticism this leads into is the idea that Asha is just another "quirky female lead" a la Rapunzel, except without any background that justifies it. And well...plenty of people griped that Anna was too much like Rapunzel, when Frozen came out. I saw people compare Moana to both Rapunzel and Mulan, when her film came out. Mirabel was also compared to past Disney heroines like Anna and Rapunzel. Even before Wish came out, people tried to argue that Asha looked just like Isabela Madrigal, which was just ridiculous. There's plenty of bad-faith criticism out there that'll shallowly associate one character or story element with one trope exclusively without looking at any nuance or detail. And I think most people would agree that truthfully, none of these female characters are the least bit "the same," no matter how much someone might try to all boil them down to "the quirky Disney female lead." And, like the others, Asha has traits that set her apart. The big one for me is her bent toward social justice, which is something we haven't really seen in a Disney leading lady since Esmeralda in The Hunchback of Notre Dame. Even so, I admit that Asha's quirkiness isn't as justified by her backstory as the trait is by Rapunzel's isolation or Mirabel's "outcast" status in her family, and that does make it so that her characterization has less depth than those of some of her counterparts'. Does that make Asha a bad character? Of course not. If you like Asha as written, that's totally fine. Underdeveloped doesn't have to mean unlikable.

"There are too many characters in this movie!"

Even I've been a bit guilty of thinking this. I still feel as though the film would've saved a lot of space if some aspects of Asha's friend group had been redistributed to other characters. Like okay, you want to reference the Seven Dwarfs in Asha's inner circle, but give them all distinctive personalities? Have her mother fill the Bashful role, and cut Bazeema. Have her grandpa be Happy, and cut Hal. Have Valentino be your Grumpy role, and cut Gabo. Have Star play your Dopey, and cut Dario. Suddenly you only have three characters -- Simon, Safi, and Dahlia -- to introduce in that kitchen scene instead of seven, and you've also now given Asha's mum, grandpa, and sidekicks more personality as well!

That being said, the amount of characters truly isn't the problem. The real problem is time. Because let's be honest, we can ALL think of media with a large cast of characters we've become strongly emotionally invested in. The Lord of the Rings -- The Avengers -- Hazbin Hotel...but the difference is how much time the audience is given to get to know all of these characters. Even Snow White and the Seven Dwarfs, which has a cast of eleven, ends up leaving the Prince and the Huntsman rather underdeveloped compared to the Dwarfs. We don't ever learn the Evil Queen's whole deal or even her name, and she gets a lot of focus! With Wish only being ten minutes longer than Snow White with a cast of fourteen, it's little wonder the filmmakers struggled to have all fourteen of them leave a strong, unique impact. Even when I first watched the film, I didn't feel anything negative toward Asha's friend group -- if anything, I was happy to see a Disney animated female lead with a friend group of her peers, since the closest we'd gotten to that previously was Hiro in Big Hero 6 and Mei in Pixar's Turning Red. All of Asha's friends had the potential to be very interesting people, and that's why it's sad that we didn't get to see more of them and have the chance to become invested in them as individuals.

"Magnifico was actually right the whole time! Asha is the REAL villain of the story."

I see this one a lot, both from people who disliked the movie and fans who stan Magnifico, and as much as I won't give anyone a hard time for liking Magnifico, I think this view isn't really fair to either character or to the story the filmmakers pretty clearly wanted to tell. And sadly, as much as I want to be positive, I think this interpretation comes about partly because of inconsistent writing on the filmmakers' parts.

In Welcome to Rosas, there is this utopic vision presented of the island -- one that only reinforces the story told to us at the beginning by Asha, of how this man who loves wishes learned powerful magic so he could found this idyllic island kingdom with his wife where he could make wishes come true. Unfortunately, for some viewers, I think that propaganda works a little too well -- making us see Rosas as a place that truly is that happy and content and peaceful. And yeah, that does make it so that when Asha sings about how she wants "more than this," that could make her come across as rather selfish and entitled. But I think there are a few things that are good to remember --

Welcome to Rosas is framed as an advertisement of sorts -- like one of those commercials you see promoting Disneyland and how magical it is, without ever bringing up how much money it costs or how many lines you'll have to stand in. Asha's guiding some new people around with the goal of convincing them to stay and give their wishes to Magnifico, so of course it's going to sanitize the kingdom and make it seem like a place you'd want to stay in. There's blatant hyperbole thrown in there for dramatic effect, like the idea that you could go to outer space. Asha even sings that you're "unlikely to be unhappy": not that you'll be happy living on this island, just not unhappy. And yes, there is a difference between contentment and true, fulfilling happiness.

Simon's friends flat-out call him boring, after he turned eighteen and gave up his wish. This foreshadows what we learn about the wishes later, which is that they're a core part of a person that they're left a shadow of themselves without. At the wish ceremony later on, we can see this in the animation of the two "new citizens" giving their wishes to Magnifico. When they think of their wishes, they're full to the brim with joy, but when they've given them up, they're left looking confused and almost bereft, and even as everyone else cheers, they look unconvinced by the crowd's cult-like "forget without regret" chant. According to Wish's own canon, you're cutting out the "heart" of who you are, when you give up your wish.

Considering Amaya says that Asha will need to keep the tea hot, listen whenever and for however long Magnifico wants to talk, and never question anything, Magnifico didn't want an apprentice -- that would insinuate he'd actually be teaching them magic. If anything, it sounds more like he wanted a personal servant to cater to his whims. And when that person interviewing before Asha disappoints him, he's left running down the hall crying hysterically. This develops Magnifico as the film's future antagonist. Already long before he uses the evil magic book, we see that he wants a subordinate to do whatever he wants without question or complaint, seemingly for nothing in return except his own approval and, I would presume, some sort of paycheck. (I mean, I'm not saying Asha was right to expect favors from Magnifico so soon, or that that kind of quid-pro-quo stuff isn't corrupt as heck, but considering she and Magnifico did seem to connect over how important the wishes were, and considering Sabino's 100 years old, can you blame Asha for opening up about her hope that Magnifico would consider granting her grandfather's wish? She never framed it as a quid-pro-quo, and this probably would be the best chance she'd have to appeal to the King directly.)

Asha is seventeen! Of course her world view is going to be smaller and more idealistic than Magnifico's, and of course her family is going to be the center of her world. At the same time, even if Asha is young, it doesn't mean her perspective isn't worthy of compassion and respect. Sometimes the young do have a more meaningful view of a situation than their elders -- just look at David Hogg, or Malala Yousafzai, or Greta Thunberg...hell, even Anne Frank! However upset Magnifico was about Asha disagreeing with and contradicting him, it does not justify how pettily he decided to shut her down. He was an adult, and a ruler besides: it behooved him to act like one.

The filmmakers clearly envisioned Magnifico as the villain. Even if you want to ignore the promos where they compared Magnifico to the likes of classic Disney villains, Magnifico is portrayed as an arrogant, vain, vindictive control freak. He thinks only he knows what's best for everyone else, has decreed that only he has the authority to cast magic or grant wishes, and knows how beautiful people's wishes are, but prefers to hoard them away like trinkets, long before realizing that crushing them gives him power. (Not to mention he looked at Asha's hand-drawn animation and actually said, "Do we call that a talent?" I mean -- excuse you!) I've even heard some people theorize that Magnifico was based off Disney's "collect-'em-all" CEO himself, Bob Iger, and not in a flattering way. His main argument scene with Asha has been compared to how creatives have felt about their corporate bosses abruptly shutting down and locking away their incomplete films rather than let them be finished or released. Admittedly Wish also goes out of its way to try to make Magnifico sympathetic by giving him the slightest of tragic backstories, having him actually trust Asha enough to show her the wishes after only just meeting her, and (later on) not giving into the temptation of the random evil magic book because Amaya asks him not to, and that definitely muddies the waters. I still have to stand by the fact, though, that one's motivation doesn't excuse their bad behavior, however much one can explain the other. Magnifico having a sad backstory or trauma doesn't mean he's justified in treating people poorly, collecting wishes for his own enjoyment instead of truly loving them and the people they're attached to by sharing them with others, or not wanting people to ever question him or his authority. Magnifico's "nicer" moments don't mitigate these things either. Nor does his role as king. Even if yes, the story could've done well to add more nuance to the idea of wishes and make clear that not all of them are good -- and yes, the story could've either made Magnifico's villainy a bit more straightforward or followed through with the idea of Magnifico being a misguided anti-villain...in this film, we only see good wishes represented in Rosas. Magnifico even calls the wishes "the very best part [of a person]" -- and so one can only presume that all of the wishes Magnifico's collected are that way. Asha even suggests (before Magnifico interrupts her) that if a wish is dangerous, they could probably address that, while still giving back the wishes Magnifico won't grant. And the wish that Magnifico explicitly calls too "dangerous" to grant is Sabino wanting to inspire future generations, presumably through music. Paranoia on Magnifico's part? Perhaps, but also unjustified, in the context of the film. When Star comes down, every last person in Rosas -- including Magnifico's wife and queen, Amaya, who presumably must know something of his trauma and understand wanting to protect their people -- feels nothing but warmth, hope, and joy: all except for Magnifico, who immediately reacts in fear just seeing the wishes moving outside of his control. This insinuates that Magnifico's perception is the odd one out -- he's the only one who's afraid and not inspired, because that alternative magic threatens his absolute rule and control. Just like he's threatened by his people asking too many questions about the wishes he's taken. Just like he's threatened by the idea that Sabino could inspire the next generation in a way he doesn't approve of. And in the end, if that random evil book did corrupt Magnifico, it only magnified what was already there inside of him -- a greedy, obsessive need to hoard things away all for himself and to control others.

Again, for those people who see Magnifico more sympathetically than the filmmakers intended, I can understand why. Wish has two very conflicting ideas of who Magnifico is supposed to be, likely because it was compiled from dramatically different script drafts. But I feel demonizing Asha or ignoring the film's overall message about the value of people being free to chase their dreams to try to prop Magnifico up is misguided.

"Wish is bad because it's 'woke.'"

I almost wonder if I even need to say anything. This sentiment is so disingenuous, it seems like I should really be able to let it speak for itself. Ironically enough, though, I would actually argue that one of Wish's biggest shortcomings is that it isn't as revolutionary as it clearly wants to be.

For one, the culture of Rosas -- inspired largely by Spain and the Mediterranean -- is really never explored. We get no real influence of either of those cultures on the soundtrack aside from a few mandolins and a flourish of castanets now and again, unlike how Encanto embraces Colombia or how The Princess and the Frog celebrates New Orleans with their music. There's a lot of diversity in Wish's cast with a biracial lead and her colorful friend group (including Dahlia, who has a crutch!), but that would be a lot more meaningful if that diverse cast of characters had had fully fleshed-out personalities and relationships that made us emotionally invested in them, such as how Turning Red handled Mei and her friend group. We have aspects of social justice in Wish's storyline, sure -- but as much as you can draw parallels to Wish's story and the writers' strike that had been going on earlier that year and I think those parallels are striking, a film that clearly dealt with so much corporate oversight and meddling almost couldn't commit to making their villain a True Evil sort, and in the end, Rosas doesn't even do away with the absolute monarchy at the end of their supposed "revolution": it just shifts leadership from its King to its Queen. (And yes, I acknowledge saying "no more royalty" is a message that Disney, of all companies, would be hesitant to put out there, but you can't deny, it would've been both ballsy and different.)

Does this mean Bob Iger was right, that Wish is proof its creative types are focusing too much on message and not on entertainment? No. I'd say the bigger problems with the film were more likely caused by corporate interference -- you know, like hiring some popular pop composers to write songs that can be repackaged into other projects easily rather than primarily tell the story and develop the characters. Or deciding that our main female lead has to be able to do everything on her own without "too much help" from her main co-star (LOL, pun) because "feminism." Or defanging the villain with similarities to the company's CEO so he won't scare the kiddos. Or even animating the film at the exact same time as you're writing it like you previously did with Frozen II, to save time and take advantage of the 100th anniversary timing.

Even so, I sadly can't help but feel that Wish is "woke" largely in a performative sense. It features people who look different from each other and it talks about revolution and positive change, but it really doesn't go far enough to depict diversity in a way that people can get really excited about it or inspire deep thought and even maybe positive change in its audience. That's not focusing too much on message and not on entertainment -- if anything, it's more indicative of not giving the relevant and timely themes and the diverse culture enough focus.

"The meta Disney references are awful."

This one I think really is much more subject to personal taste. I've heard quite a few fans say how fun it is to find all the Easter eggs for other Disney projects or even to theorize how Wish could be connected to those movies in some kind of Disney Cinematic Universe. Personally I'm not in this camp, but that doesn't mean that I hate all the references included. The film opening with the exact same kind of text from Snow White and the Seven Dwarfs actually made me smile. The Sleeping Beauty-esque drawing style in the storybook was pretty. Even the Seven Friends as an idea I thought was cute, when I first saw the concept art for them.

By and large, the references I tend to see more favorably are the ones only hard-core Disney/animation fans would pick up on. This might make me sound snooty, but I still personally enjoy references like Star's design being based on one of the star cherubs from a discarded Snow White sequence far more than I do the more blatant ones like Magnifico crushing a dream about a "perfect nanny" or the boy dressed like Rosasbound!Peter Pan. I guess for me, the first kind of references feel more like homages, rather than things that are deliberately supposed to make you think of other Disney movies you could be watching instead of this one. For other people, though, thinking of different Disney films while watching Wish is fun, and it reminds them of how much they enjoy those other movies too. It's good, clean, nostalgic entertainment. And well, Disney has put plenty of Easter eggs in its work before, though usually a bit more sparingly.

So yeah, I think ragging on the flood of Disney Easter Eggs in Wish is a bit unfair. As much as most of them aren't for me and I would've been happier with a lot less of them, I know there are other people who find joy in them, and I'm happy they do. The animators working on this film undoubtedly had a lot of fun including those references too, and I don't blame them! It's fun to create art celebrating what you love with like-minded people.

"Wish's songs are all terribly written."

Now up to a certain point, I could just say exactly what I said against the last criticism -- that this really comes down to personal opinion. Unlike meta Easter eggs, however, music is an art form, and there is real craftsmanship to it -- hell, people study music theory for a reason. And as several Youtubers have discussed before, there are real structural problems to how a lot of these songs are written. In some cases, it's an issue of cadence, where the way the words are sung don't sound like how they'd be naturally spoken aloud. In Knowing What I Know Now, for instance, sometimes the singers use the wrong emphasis on certain words, just based on where they land in the song, such as when Asha sings about Magnifico showing his "TRUE col-ORS in SHADES of GREEN," even if people don't naturally emphasize the second syllable in the word "colors." In other cases, it's over-stuffing a line with words so that the melody line isn't as memorable, such as in This Wish where the amount of syllables per line are all over the place and sentences get cut in weird places --

Isn't truth supposed to set you free? (9) Well, why do I feel so weighed down by it? (10) If I could show them everything I've seen, (10) Open their eyes to all the lies, then (9) Would they change their minds like I did? (8) But when I speak, they tell me, "Sit down!" (9) But how can I when I've already started runnin'? (8) Oh, this is where we've been, (6) But it's not where we belong, (7) And I may be young, but I know I'm not wrong... (11)

There are also cases where the songs barely use any actual rhymes in favor of half-rhymes or worse twist themselves into pretzels just to make an actual rhyme, such as in I'm a Star, with lines such as "When it comes to the universe we're all shareholders // Get that through your system! (Solar!)" and "Ooh, I'm a star! // Watch out, world, here I are!" (Excuse me while I cringe.) And then of course, most infamously, there are the redundant and otherwise weird lyric choices, most commonly cited in Magnifico's And This is The Thanks I Get?!, such as "I got these genes from outer space!" and "I let you live here for free and I don't even charge you rent!"

By and large, people have not responded as well to Wish's soundtrack as they have for many other Disney musicals. It could also be argued that the songs don't tell the film's story as well as they could've. The most egregious example of this is At All Costs, which is supposed to be our villain and hero singing about the beauty of the wishes the first has collected, but was literally written as a love song first, just because Julia Michaels wanted to write a song that could be played at people's weddings even if the movie in question didn't feature any romance. Even This Wish was written well before the script was finished, and this is when we can tell from all the concept art released by Disney that this movie had been dramatically rewritten at multiple stages of development.

And yet even with this, I still see people making animatics for At All Costs featuring their own characters or Asha and the discarded Starboy concept. (And yes, we'll come back to that.) I still see fan-made music videos featuring This Wish. Hell, even I have some of Wish's songs on my IPhone, and I listen to them actively! Knowing What I Know Now, as much as I see what's technically wrong with it, is still a bop for me. However much I had to take a full-on sanity break after listening to I'm a Star a second time, I do enjoy This Wish and At All Costs, just on their own. I don't think This Wish (reprise) is a bad musical or thematic climax, especially if one considers Magnifico's fear that Sabino's wish was to inspire the next generation through music, and it ends up being a song -- sung by his loving granddaughter -- that ultimately defeats our antagonist. I don't think any of Wish's songs really help tell the story as well as other Disney songs do for their films, but I still think there's room for personal taste here. Music -- like all art -- still has an element of subjectivity. It isn't a science -- yes, there is talent and skill involved that can only be mastered with practice and hard work, but there's still a bit of magic that comes with the finished result, and as much as it might not be popular with the masses, that doesn't necessarily make something worthless, or that public consensus can't change. Tchaikovsky famously hated the work he did for The Nutcracker, as did the critics of his day, only for it to go on to become a staple of holiday entertainment and ballet productions overall. Plenty of cult classic films like Labyrinth and Heathers didn't make a lot of money or get lots of praise when they first came out, but soon enough they found their audience.

"The animation is lazy!"

There's actually a much better video discussing this, made by a real professional animator, and I think I'll just let him handle this.

One thing I want to touch on, though, is Jennifer Lee's commentary about why Wish ultimately wasn't done in 2D animation --

"What happens in hand-drawn is that you have the incredible hand of the artist, but also limitations in what you could do on screen. What happened in CG is you'd have incredible, boundless opportunities, visually, that elevated it — even to the point for some — into realism, which is not what we wanted to do. The more important thing to us was to have a way to find technology that can do everything. Connect to the true vision of the artist, but bring in technology that could finally take away limitations."

-- and yeah, I'm not going to lie, this sentiment leaves a really bad taste in my mouth. The idea that hand-drawn animation somehow limits what art you can create is mind-boggling for anyone working in animation to think, but especially for someone working in Disney animation. I can't help but feel like Uncle Walt would've been ticked if he'd heard anyone suggest this. Anyone who loves animation I think would be annoyed by it, and I'd say people like Hayao Miyazaki continue to prove that Lee's thought process isn't true, considering that his hand-drawn film won the Oscar for Best Animated Feature the same year that Lee's Wish was passed over by the Academy altogether. To be fair, though, this is more a reflection on certain Disney leaders' dismissive attitude toward the medium that built their company as well as the vast majority of the films they're supposedly celebrating, rather than any condemnation of the hard-working animators who worked on Wish. And yes, although no one can argue that Wish ultimately doesn't look as good as its animated peers like Sony's Spiderman: Across the Spiderverse (which was made with half the budget Wish was), that's more the fault of a flawed vision on the part of the filmmakers than anything. It's certainly not indicative of a lack of talent, resources, or caring from the animators themselves.

"Wish would've been so much better if it had featured a love story between Starboy and Asha!"

Okay, let me pop this bubble right now --

None of Disney's official releases have ever indicated Star was going to be Asha's love interest.

The concept art featuring Asha and human!Star? Yeah, that exists, but there's nothing strictly romantic in any of those concepts, like them kissing or even hugging. At All Costs originally supposedly being a love song for Asha and Star? As touched on above, nope, it was even more of a cynical corporate decision than that -- the songwriters just wanted to write a love song that they could repackage and use elsewhere, even if there was no love story to go with it. The thing about Asha and Star supposedly being soulmates? That's derived from a comment in the artbook from Wish co-writer Allison Moore, talking about Asha and Star in their current forms, and so therefore the sentiment was intended platonically --

"Now Star and Asha have an emotional journey. They are soulmates."

And well, just based on a good chunk of the Disney animated films that had come out prior to Wish featuring male and female leads -- Zootopia, Moana, Big Hero 6, Wreck-It-Ralph -- there was really nothing definitive to suggest that our two central characters were going to be romantically linked. And even if Star and Asha were going to be love interests, that still would've been no guarantee of a better movie -- you'd still need compelling, well-developed characters, if you want to likewise have a compelling, well-developed relationship between them. And as I've argued in the past, a movie doesn't need romance to be good. If someone could feel sincere platonic love between Star and Asha as their actual movie selves, then any romance between them wouldn't be needed. I truly believe the only reason that so many people have gotten so hung up on the idea of a Star/Asha romance is because that original platonic "soulmates" idea Allison Moore and others envisioned just didn't ring true for them. They saw more love and interesting chemistry between the original concept art versions of Star and Asha than they did between any of the characters in the finished film...and so they've built upon those flickers of love with their own imagination and then built that mental image up into something that I don't think the filmmakers probably ever intended.

I must be honest, it was kind of a slog, watching Wish for a second time. I stopped multiple times to take notes, unable to just sit back and let the movie wash over me. Even so, I truly appreciate how much time you must've spent to skim through this way-too-long analysis, as well as the votes you all cast in that one poll of mine! I love analyzing Disney, and as much as I don't love Wish, I do think it provided great fodder for new fan creations and has amazing potential as an educational tool about both good storytelling and film-making. And if there are more criticisms of Wish you'd like me to discuss, please feel free to reblog this post with them! Thank you for your support!

To close us out...if you love Wish, then keep on loving it! Don't let anyone -- including me -- tell you otherwise. I don't think a film that was truly the worst thing ever would've attracted as much attention or overanalyzing as Wish has received. And for those of you who are still dissatisfied with Wish, here's a list of films I compiled that you can watch and enjoy instead!

For Starboy/Asha stans...Stardust!

For both Starboy and Chris Pine stans...Rise of the Guardians!

For those of you who love the idea of storytelling magic...Whisper of the Heart!

For those of you hungry for a diversely cast, "woke" fairy tale...Rodgers and Hammerstein’s Cinderella (1997)!

For people looking for a colorful, family-friendly musical...Wonka!

For avant-garde animation fans...Guillermo Del Toro’s Pinocchio!

For modern CG animation fans...Puss in Boots: The Last Wish!

And finally, probably most obviously -- for those Disney fans looking for a loving tribute to 100 years of Disney Animation with a bunch of Easter Eggs and good humor...Once Upon a Studio!

Much love to you all! 💛

[canary-song]

So I've been thinking about

Spiderverse and the developement of its supporting cast.

And now I'm going to make it everyone else's problem! Today, unsurprisingly considering my track record, I'm going to discuss Peni and Noir from ITSV, and then Hobie and Peni from ATSV, with focus on characters as stereotypes of genres/ideologies.

Let's begin!

Into The Spiderverse is a great, self-contained story, but in terms of Spiderverse, it's also our introductory movie, and I believe this effects how the story is told in terms of its supporting cast. (As a warning, I will be discussing Noir and Peni in this section without much mention of Ham as, though I believe these points might apply to Ham as well, I haven't read his own comics and thus am not familiar enough.)

Noir and Peni are, in ITSV, personifications of their genres. I mean this with no disrespect, but its evident that they are, first and foremost, representative of their stories and styles moreso than they are characters with much depth.

Starting with Peni, I do know that others have discussed this in terms of her before, but she is quintessentially the bubbly anime girl contrasted against a cast of american comic/movie characters. This isn't specifically my issue, but it's more that this facet of her is highlighted moreso than mostly anything else - her place in the SP//DR program is referenced, along with the death of her father, but ISTV spends no good deal of time until the end evaluating how these things might effect her. She's mostly stagnant, about equivalent to how she was at the beginning by the time she leaves, with the only major difference being the loss of her robot.

And then there's Noir, who I have, as friends will know, discussed consistently to be a character treated as 'Spiderman cardboard cut-out with a bucket of 1930s aesthetic dumped over him'. Though ITSV gives a very fun interpretation of his character, playing up the drama, it also doesn't escape said issue in terms of treating him as more an aesthetic than a product of his times. He's written with even less space given for his backstory, supplying no particular comic details beyond punching nazis, and any references to the emotional turmoil of his character are reserved to the 'moral ambiguity of your violent actions' gag. Similar to Peni, he has little to no character developement and only a smidge of emotional dialogue, which is mostly only present near the end with saying that he loves the rest of the spiderpeople (undercut by another Not Knowing Colors joke, but I digress).

I am not arguing that this is poorly done and negatively impacts ITSV - it doesn't, to me. It's still well told, and this story doesn't suffer from underdevelopement because there's so much else it is doing. This is, as stated earlier, the introductory movie. Peni Noir and Ham are examples of the wider, diverse Spiderverse, and they're personifications of their genres because they're short-hand for telling your audience that the multiverse is vast, setting expectations accordingly. ITSV doesn't need to do the hard leg-work of making them all 3-dimensional because that's not the point of this supporting cast, at least not yet.

So let's talk ATSV, Hobie, and how that changes.

Hobie is another example for "Characters as personified stereotypes" (even if its not a genre this time, and instead more an ideology) because his character, at the beginning, is all about being an anarchist, an anti-fascist, and an Over The Top punk. He plays into it as is what's expected of him, both from the people around him and, to a degree, us the audience. He's his beliefs personified in the most comedic, low depth lense possible, but over the course of ATSV, as everyone knows, his true personality and motivations reframe how he's been previously characterized;

It's not shallow writing, and he's not 2-dimensional, with all of his jokes being instead an active choice. He still stands for (mostly) everything he's joked about, but in a far more genuine and real sense, going out of his way to watch out for Gwen and Miles, and take all steps necessary to support them and plan for jumping ship. He's only a joke because he makes himself one.

This leaves us with one final example, being Peni in ATSV, who I'm bringing up as another contrast despite her (more or less) minute and a half of screentime. Because here, I think we can more clearly see how the way ATSV is told is different from ITSV - she's experienced her 'canon events', and the version of her that we meet in ATSV has developed into something with more depth than she had previously, given the chance to appear solemn, tired, and under the strain of her Responsibilities. She's, in this way, more comic accurate, and her own life is given more weight than her sparkly anime aesthetic.

ATSV can do these things, giving characters like Peni, Hobie, Pav, Margot, Miguel, and Jessica Drew all their own distinct lives and motivations, because ITSV did the ground work of establishing the story and themes beforehand - giving ATSV more time spare to give us multi-faceted supporting characters.

Does this mean BTSV will continue this train and give us more developement for the characters we've not gotten much of? Maybe! I'm just excited to see where this story can go now that it feels its found its footing and isn't having to sacrifice depth for story, and instead is able to balance the two.

[antianakin]

Tales of the empire trailer just dropped, what are your thoughts about it?

Personally I’m glad they are finally giving us some more backstory to Morgan Elsbeth’s character. She seemed pretty underdeveloped to me and it was annoying they never gave us anything new her character in the Ahsoka show.

I’m not surprised with them making Barriss into an inquisitor and I think that storyline could be really interesting. But I just have this feeling that they are doing these storylines in particular for the Ahsoka show, potentially making Barriss come back for season 2. Or just trying to make that show make sense.

I would love to hear your opinions on this new show, your blog is amazing :)

I just answered someone else's ask on this HERE a little, but basically it just looks kinda boring and stupid.

I do not care about Morgan enough to be upset that she's being featured. She IS underdeveloped, but she's also super dead and her character can't GO anywhere so why should I care about her backstory? Why build up a character who's already been killed off? This is the kind of story that would've made sense to do BEFORE the Ahsoka show came out so that we understood that relationship with Thrawn and knew more about her life as a Nightsister, etc so that it could be at least a LITTLE emotional when she died. Also, we've seen this story in different variations twice now. We already saw Ventress deal with the fallout of the Nightsister genocide and go on to become a bounty hunter, and we've seen Merrin deal with the fallout of being what she believes is the last Nightsister survivor on Dathomir and joining up with Cal's crew and becoming someone who helps others as a result. Seeing yet ANOTHER Nightsister deal with the Nightsister genocide just feels redundant now and it's with a character that was already removed from the story as like a third tier villain AT BEST. Who cares.

And then there's Barriss. It's not SHOCKING she became an Inquisitor, but it's incredibly lazy. I don't trust Filoni within ten feet of Barriss given what he already did to her character. She already had her character assassinated, so this is just going to be rubbing salt into the wound he created back in TCW. Nothing about it is going to be good, and personally I would've preferred a story in something like TOTJ of Barriss RECLAIMING her Jedi values and escaping Order 66 and the Empire and slowly healing from what had happened to her and what she'd become and turning to her old Jedi training in order to get through it all and find peace.

It DOES feel like it's incredibly connected to the Ahsoka show, which sucks because wow do I not want Filoni to keep doing shit with Barriss, in animation OR live action, but it does feel like this could be foreshadowing for yet another cameo in the Favroni Cameoverse.

But like. Silver lining, at least they're not calling it a show about Jedi and it's just very overtly a show about villains this time I guess. So I can know to avoid the fuck out of it because I'm just vastly uninterested in seeing Filoni romanticize more villains and continue to ruin Barriss's character.

[whinlatter]

Hi! I love your writing think it’s phenomenal work. It’s really such a genuine and intimate depiction of Ginny. I also see you have an appreciation of Dean Thomas. I’d love to know why you think Ginny was attracted to him? What do you think their relationship was like and how did it help them for their next partners? I just think that pairing was really interesting and there’s not enough of them being friends.

❗️ Warning... big Dean & Ginny meta incoming ❗️

Firstly - thank you so so much for reading and enjoying my work (phenomenal!!! I’ll dine out on that all week - can't thank you enough).

Secondly - what great questions! This was such a fun thing to think through. Dean’s a quietly lovely character I have so much time for, despite being very underdeveloped in canon (cutting his arc to exclusively favour Neville’s? Side-eye forever). I'm definitely a paid up member of the Dean Thomas Fan Club.

Anyway….. the questions were so good I wrote this too-long meta on Ginny and Dean before going to bed because I apparently… cannot be stopped?

Why was Ginny attracted to Dean?

I think for this question it’s important to think about the timing of when Ginny and Dean became close and when they got together, and especially what Ginny was looking for during and after her relationship with King of Negging, Michael Corner. There are three weeks between the break-up with Michael and Gin getting together with Dean, so we can assume Ginny and Dean had already become close and maybe a little flirty when she was with Michael (Ginny Weasley likes to give herself a nice four-week breather between boyfriends, usually just in time to watch the early summer weather roll in. I for one respect the work rate and the consistency.)

Ginny is with Michael until late in her fourth year, until they break up after the Quidditch final in early June. Dean has his OWLs until late June (just realised Ginny dumps Michael right before his exams - this is how you get revenge on a Ravenclaw).

The events in the Department of Mysteries take place the day exams finish (cue iconic scene where Harry’s rushing up to the dormitory to grab his Cloak and save his godfather’s life and Seamus and Dean are trying to get him on the sesh, absolutely rate it, excellent from the lads). Ginny’s going out with Dean by the time she gets the train home, probably by the end of June.

Given the short turnaround time between relationships, I think it’s likely Ginny and Dean became close during the rest of the school year, where she was able to learn the following things about him (and implicitly compare him with Michael as Michael revealed himself to be, as the great prophet Ronald foresaw, ‘a bit of an idiot’):

Dean Thomas knows right from wrong (and really, really can’t stand Dolores Umbridge). In their first lesson with Umbridge, Dean is by far the person in the class who stands up to Umbridge the most after the trio (he actually comes out swinging a lot more than Ron does). He immediately subs in for Harry when Umbridge refuses to answer any more of Harry’s questions. He defends Lupin and Crouch-as-Moody when Umbridge criticises them (describing Crouch-as-Moody as a maniac but saying ‘we still learned loads’ is extremely funny - Dean's pedagogical expectations are low). Dean is an extremely enthusiastic DA member, he and Ginny often arrive at meetings or take part in dinnertime conversations about the DA together, and I think they likely became mates because they’re passionate about what the DA is trying to do. We know Gin likes a boy with a moral compass, a backbone, and a good sense of outrage in the face of injustice. (I cut this out of a much lengthier first draft of chapter one of Beasts, which had all the DA at the graduation ceremony, but this was their interaction in response to another character acting up: ‘[Ginny] feels an old rush of affection for Dean, a man who always had a good scowl in him when it mattered.’)

Dean’s a sweetheart, even if he’s a bit hopeless. Dean’s a character who is often trying to make people feel better about things and trying to give a bit of comfort – emphasis on trying, because he’s not always good at knowing exactly what to say. I think this is something Ginny would really value – she’s someone who, for all her fire, tries to comfort and support the people around her. I reckon she’s got a soft spot for a man with a heart in the right place and a chronic inability to find the right words to express it. ('“Don’t worry about it, Harry,” Dean muttered, hoisting his schoolbag onto his shoulder. “He’s just . . .” But apparently he was unable to say exactly what Seamus was, and after a slightly awkward pause followed him out of the room.' OotP, 221 - does this not sound like how Harry would try and comfort someone?) 👀

Dean is kind to the underdog. Dean is often seen hanging around with or partnering up with Neville, and in DH, we’ll also see Dean be very kind towards Luna. I think Ginny rates people who are kind to those who are socially awkward and excluded.

Relatedly... Dean loves Remus Lupin. I wrote about this a bit in this short reflection on Remus (and am writing about this at the moment so don’t want to get too spoilery if you’re reading Beasts…), but I have a feeling being Remus Lupin’s biggest fan would be a sure fire way to get a text back from Ginny Weasley.

Dean’s into sports. Like her soulmate, Ginny’s into fellow jocks (I think it's implied that Michael Corner was also on the Ravenclaw Quidditch team – three for three on Quidditch players, Ginevra, if you were on Love Island I’d say you have a type). I think she’d also be amused and endeared by Dean’s die-hard commitment to West Ham - she is Arthur Weasley’s daughter, after all, and she probably enjoys teasing him about how crap football sounds. (That bit in PS/SS where Dean’s yelling ‘send him off, ref!’ – 10/10 excellent Dean content). Also Dean does not seem threatened by Ginny’s Quidditch abilities, but instead just really wants to be on the team with her too, which is a nice change from Michael Corner, the Jack Berger of Hogwarts Quidditch. (Sorry Michael, I know you end up a gold star goodie by DH, but young Mike is a prick to our girl Gin).

Dean is a laugh. Chuckling at Ernie Macmillan in his Apparition classes, mucking about with mice in Transfiguration, getting the giggles because this Lockhart bloke has set a quiz asking students to name his ideal birthday gift: Dean is both fun and funny. That bit in GoF where Dean describes Warrington in Slytherin as a ‘big bloke who looks like a sloth’ – funny.  The bit later in GoF where Dean rinses Harry for rejecting that curly-haired Hufflepuff girl who wants to go to the ball with him – also funny. Ginny Weasley likes a comedian and she also likes an audience. I think that means a big tick in the Dean Thomas column.

Dean's a creative. This is verging on headcanon territory, but I really do love the idea of Ginny finding her way back to writing in the years after Riddle and the diary. I can see her being drawn to someone who also has this gentle, expressive, artistic side to them.

Dean’s not averse to dealing in contraband Firewhiskey. If you’re a fourteen year old popular girl with a rulebreaking streak, the boy who can source you some Firewhiskey for an end of exams party from a cool kid like Harold Dingle is hot property.

Dean… er, really likes Harry. Not Gin's finest criteria for a boyfriend, but I think In GoF, the man draws Harry flying around the Horntail on his Firebolt and draws Cedric, his rival, with his head on fire. It’s not a hugely good look for Ginny, but I reckon Dean really liking Harry probably, in a strange, back-to-front kind of way, is another vote in his favour (Gin, you're messy, and I love you for it).

What was their relationship like?

I loved thinking about this question! It’s easier to write about why Ginny and Dean broke up than it is to write why they stayed together so long, and what good stuff they took from the relationship. Dean's easily bashed in Hinny fic in all sorts of different ways, and I don't think it really tallies with the really positive impression we get of him in canon. Ginny and Dean spend a lot of time together over the year - eating most of their meals together, training together, spending all of their Hogsmeade time with each other. I know it’s a teenage relationship, but this is still so much time to spend with one person. It also actually takes them quite a while to breakup, even if they’re ‘rocky’ for much longer. There's something to their relationship that must, on some level, have worked quite well. After all, it would have been a lot easier for Ginny to have dumped Dean if he was a crap boyfriend. It’s much harder to dump someone who is a good partner, but not the right partner for you.  

I think that's the problem for Ginny: Dean was kind of perfect for her in lots of ways - but for the person she would have been if Riddle hadn't happened to her, and if the war hadn't happened. Their relationship was clearly based on a lot of mutual attraction and chemistry (that kiss Ron and Harry saw was intense, lads - there's a reason Harry was threatened by it, after all). I think Dean was proud as hell of Ginny, especially on the Quidditch pitch (he's so excited to tell her he's going to be on the team with her!). I think he would think she's super cool, and I like fics and headcanons about Dean that show him trying to internalise his feelings about his own dad into doing right by his girlfriend, even if that means overshooting and being overly chivalrous and over-protective with Gin. I think one of the reasons Ginny stayed in the relationship so long is because they genuinely got on, had a laugh with each other, and fancied each other, in a way that she would feel conflicted about when she still feels drawn to Harry.

Really I think it's Dean being so great that is the problem for Ginny. If she's with this really great guy and she's still feeling restless and like something's missing, she knows that means she's still not over Harry, and that means she's in trouble. I think it's why Ginny sabotages the relationship, in very understandable ways, and in the end she finds herself getting the ick over little things, and picks a fight to end it rather than come clean about being in love with someone else. (No judgement: again, messy girl representation is important).

Ultimately, I think Harry is perfect for the Ginny that actually exists, and Dean would be a good match for a hypothetical Ginny where there was no Harry, who doesn't have a family in the resistance, who doesn't have all this trauma from what happened with the diary, and who isn't shaped and forged by a childhood at war. Until DH, Dean doesn't seem to know anything about the Weasleys' involvement in the Order. We have no evidence anyone other than Harry, the Weasleys, Dumbledore and Hermione ever knew Ginny was possessed by Riddle, and I don't know that Ginny would volunteer the information to Dean. (The only reason she brings it up to Harry in OotP and again in HBP isn't because she wants emotional support for it - she only brings it up to try and help him. This is not a subject she talks openly about even with the person who knows most about what went down). This lack of knowledge about crucial parts of Ginny's life would mean huge gaps in understanding between them - not gaps that are Dean's fault, but that Ginny doesn't try to get him to bridge. Dean can't meet Ginny where she's at emotionally at the point in the series where they get together, in many ways because he's much closer to a normal teenager than she has been able to be up to that point. At the end of the day, Ginny's always going to want to be with the strange guy racing to the Department of Mysteries to rescue a loved one and fight Death Eaters on a Friday night than a nice normal guy who is planning on drinking his own weight in Firewhiskey to celebrate him finishing his Wizarding GCSEs.

How did it help them for their next partners?

I think Ginny would always speak highly of Dean, appreciate that he made her feel loved and someone a boyfriend should be proud of, and I think she would feel some guilt about what went down. I think, eventually, Dean would acknowledge that he didn’t fully understand Ginny and what she was going through, and that he couldn't have been able to meet her needs in the same way Harry could. (I do think this would take a while, though - on the way out, Dean would be understandably very bitter, even if bitterness would be quickly surpassed by the much more serious escalation in circumstances in the war for an apparent Muggleborn. Thinking about it, Dean Thomas had a terrible 1996. Man got dumped and then within three months was homeless and on the run from a murderous fascist regime trying to do him in. Like, I know this is very much not funny but… if a man I had shared a bedroom with for six years and called a friend publicly scooped my ex from me from under my nose, dumped her a few weeks later for mysterious reasons, and then I had to look at his face everywhere I looked on wanted posters, I would be a lot more mad at Harry Potter than Dean Thomas ends up being).

Ultimately, though, I think both would look back on the relationship as a sort of sweet teenage thing, with a lot of warmth and humour to it, probably some sweet confidence-boosting intimacy early on, and a bit of a lesson that you can't make someone be the right person for you. I like to think Ginny and Dean end up mates, in the end, and that she's always rooting for him to find someone great.

[ceruleanwhore]

I know it’s been almost 20 years since AtLA came out but something that still bugs the shit out of me about it is the stuff with Aang, his crush on Katara, and the avatar state. It’s not just that Aang should’ve given her up in s2, it’s also all the ways they could’ve written that without putting kataang in that position, and I feel like I haven’t seen people talk about that as much, so I’m going to.

The first option I see, which I really like, is that they could’ve given Aang a different crush at that point in time, like how other characters got to have crushes on characters who weren’t their endgame love interests. Personally, I love the idea of this actually being Toph because that would give most of the season to set it up and there would be the same proximity he has with Katara. In the end, he’d have to give up this crush and all of the stuff at the end of s2 would actually contribute to significant growth and maturation in Aang which, paired with continued growth throughout s3, would set him up to actually be mature enough to end up with Katara.

Another option that I also think would’ve been really good would for the thing he needs to let go of to actually be his past/the air nation he left behind that’s gone now. So, I know nuance definitely is not a thing with the chakras in the show, but my takeaway has always been that the last chakra is just about relinquishing the power that earthly attachments have over you, not permanently yeeting them out of your life. For example, with giving up Katara, he was just being asked to give up his desire for her, the earthly attachment, but not to kick her out of the group and send her home. With this idea of it being about his past, it wouldn’t be about abandoning Appa or anything but, rather, giving up the ways he is tethered to his past and his underdeveloped ideas of what it means to be an air nomad that he constantly throws around to justify literally anything he wants. In this case, I’d really love for his past at the air temple or leaving it to come up in every single chakra (correct me if I’m wrong but I don’t think it does in the show). It would also be really cool to have a visual representation of how his past with the air nation connects to his present in how he views the world around him.

The third option is to just have it be something else entirely that Aang has to do in order to unlock the avatar state. Honestly, the chakra stuff ended up not really adding anything to the show since it was mishandled so badly and Pathik was never more than a throwaway side character and a racist stereotype played for laughs, so I don’t think the chakras are necessary at all. I think what might have made more sense would be for Aang to go to the nearest air temple and enter that inner sanctum like we saw in s1 e17 that Teo’s dad fucked up. He could connect with his past lives and unlock the avatar state there, no racist, out of place guru needed.

But yeah, I think putting in all that stuff about the chakras just to end up throwing it out the window completely because of how they wrote themselves into a corner was an issue that could have easily been avoided. Also, I do think that part of the issue is that they didn’t spend enough time on the chakras so it felt like things weren’t explained very well to Aang, especially with the love vs earthly attachment debacle, because they didn’t take the time to explain it. Had they both taken a minute to have Pathik explain the difference between love, like Aang unlocked with the 4th chakra, and his crush on Katara and then also not had that scene with Iroh validating Aang’s decision since he had no context for it, they also could’ve avoided a lot of the issues we see with this in canon. Regardless, I feel like there’s multiple ways the creators could’ve very easily avoided the whole mess they created at the end of s2.

[usernamesuggestionsarefunny]

Wish spoilers ahead.

The start of Wish is exactly like that of Encanto but without all the heart. It is literally the meme of "Can I copy your homework?" "Yeah but change a few things so it is not too obvious."

Also Asha deserved a pretty dress in the end like wth are you going to sell to little girls Disney you are all about money and you failed miserably even at that.

And it is for real soooo unfair how the queen did get a pretty dress the whole movie and Asha only got some lazy ass sparkles added to her boring ass dress.

Asha... not bad, ok, but she is copy paste Anna, Mirabel, and Rapunzel. Youtuber ModernGurlz is right about Disney's "adorkable" problem. All their main girls since Rapunzel have the same "quirky" personality save a few details. I have liked them all but it is getting boring. Give me a princess with a monotone, sad personality, give me a shy princess who only smiles and talks around close friends, give me back the classic super girly personality Aurora and Snow White style, give me an angry girl with a brutal sense of humor like Merida. Be creative, please!!!

I love the queen's design, super gorgeous. Too bad her character added nothing. Her help was barely needed since Asha's friend had already sneaked them into the castle and it was her who deciphered the king's magic. A super villain couple would have been way more fun.

Oh, yeah, Asha's friends. There were so-damn-many of them and only like 3 were rememberable or needed for the story.

The villain is a complicated issue. I appreciated Disney's attempt at another fully evil character, I liked how he wasn't yet another badly set up "twist villain" revealed only at the end. But I didn't like the end result that much.

His backstory was super underdeveloped and to "get" his motives better, if they really wanted to make him evil-yet-complex, they should have shown us a flashback of him losing his family Encanto style (They copy pasted the start might as well do the same with the antagonist backstory.

What the hell was the missing piece of tapestry for if it wasn't going to have any significance later on? Did the writers just forget or what even?

Worst part for me: The stakes were low as fuck. Disney doesn't respect its target audience, nowadays it thinks that children can't handle anything worse than a main character getting disappointed. The worst this "super evil" villain does is make people sad temporarily, for like two minutes (Kid you not), like one character stays sad for longer but MOST people in the kingdom seem happy and normal after giving up their wishes, he legit just makes people sad a few minutes (Again, I kid you not, no one dies, the wishes he "eats" to make himself stronger come back, nothing he does has a permanent, devastating effect, he is not even revealed to have killed Asha's father in a dramatic way or something). Yeah he makes people forget their wishes which is pretty sketchy but up to that point he seemed to have complex reasons for that, reasons that seem to disappear or have never even been there the second half of the movie when he magically becomes more evil due to a forbidden green spooky magic he uses, and then suddenly he becomes Maleficent (The cool, perfect villain version, not the woobie one) style evil in a very, very rushed and over the top way. I feel like he should have started up as fully evil with no backstory (Just a simple, Gaston or original Maleficent style, self centered guy, who wants more and more power and adoration), and simply gotten worse and stronger OR given more complexity as to why he became that way, but instead we got this weird thing in between where it is clear he just wants power and love from the people for the sake of it and yet he has this half-made sob story on how his family died.

There was a great lack of originality in this movie at the climax as well. Anyone watched "The little mermaid II"? That was pretty much it. Villain gets power boner, says he will enslave everyone (Worst thing he does in whole movie and yet no one trying to defy him dies at least off screen or gets hurt in any meaningful way). Then heroine saves the day.

The funniest part of this movie is that the villain's fate is worse than anything he ever did in the movie I swear. He gets trapped in a freaking mirror and then locked up in a cell (Similar to the Little mermaid II villain's end too lol). That is straight up torture till death, it is so fucked up. And his wife who literally sees how the green spooky magic is the main thing responsible for his bad day (If we are being honest that is all it was, other than the taking wishes part he seemed to be a good king) leaves him to rot and becomes queen Catherine II style, it is hilarious. Like girl, you turned against your husband like five minutes ago because apparently through decades of seemingly loving marriage, you never knew he was evil but now somehow you are ok with him rotting in solitary confinement till the end of time? So dorky and silly. So bad, so bad.

Lastly, that goat was annoying as hell.

[another-lost-mc]

Hi, just want you to know I have Michael Brainrot bc of your works with him…. I’m not asking for more or anything, i love everything you do anyway….. but damn your Michael hits different….

Oh, thank you so much! I love Michael. Even in NB he still seems a bit underdeveloped and we don't even know what he looks like yet. (I've talked a lot about my personal headcanons about his appearance and at this point I stubbornly accept the likelihood that he's going to be a tall, long-haired and blue-eyed blonde instead. lol)

When I first started playing OG, he was one of my favourite characters even though we knew next to nothing about him. Some of my first fic ideas were about Michael, if you'd believe it. Maybe that's why I liked him so much? I treated him like an OC before Nightbringer came out because I took quite a few creative liberties exploring different versions of him.

I've mentioned before that I treat angels and demons in this game (and Father and the Demon King) as fantasy races rather than religious beings. To me, Michael is a leader - a flawed leader, sure - but he has so much personality and friendship and affection to give. He loves sweets and he's fashionable and even though his bond with Lucifer is undeniable, I think he genuinely cares about all his celestial brethren too.

Unfortunately for Michael, he seems like the type of angel that wants to be everyone's friend, but the problems arise when he has to stop being a friend and start being leader of the angels. We've seen him make difficult choices and we've seen evidence that he's struggled with the consequences of those choices. I think he has a lot of regret and unresolved trauma/guilt from things he's done, especially when it comes to Lucifer and his brothers.

I have no idea what the original plan for OG was after Season 4. My rough guess (or at least how I hoped it would play out) is that:

Season 5 would involve MC at least talking to Michael directly again (re: Simeon) and visiting the Celestial Realm on his behalf.

Season 6 would be the point when new angels visit the Devildom, including Michael (think of it as a diplomatic visit with higher-ranking angels making the CR's peace with the Devildom "official").

A lot of my Michael x MC/Reader stories assume that he and MC would've met in-person for the first time in Season 5. MC deserves a proper visit to the Celestial Realm (overnight, at least one week but preferably two or three) and a chance to meet Michael and the other important angels that help him run things. So many of my Michael blurbs are just him and MC interacting during that first meeting together because the first meeting trope is one of my favourites.

And as much as I love Michael, visiting the Celestial Realm wouldn't be complete with some more angels to liven things up. We have other established canon angels - Simeon, Luke and Raphael - but Uriel's been mentioned twice I believe, and I doubt he's the only other angel worth meeting. (OC Angels like Metatron and Gabriel help fill in the gaps so that my CR-based writing doesn't feel so empty.) We just need more angels in general - how else will a MC goes to the CR for the exchange program AU play out if there's only like, two angels there? >_>

Anyway. I try not to think about the implications of Michael's involvement in NIghtbringer since it took an odd turn with HM Lesson 20. I did outline some possible story ideas based on that particular plot point but I still prefer to write Michael in the OG setting for obvious reasons.

As a side note - I know I keep talking about it, but the OC story I've been working on features Michael as a major character in Part 1 that takes place in the Celestial Realm. We get to see him interacting with Lucifer (who is still an angel then) and other angels of various ranks, and the two main characters of course. We see Michael who tries to be a friend, who tries to be supportive and balance out Lucifer's different approach to handling things...and we also see Michael who abides by the rules angels are meant to live by and expects everyone else to do the same. I could've made him the "bad guy" in this, but I didn't. He has his good moments and his "omg you're such an asshole" moments, but no more or less than the other characters. It's very exciting.

......................yikes, that was a lot of words to say, "Thank you, fellow Michael fan! I also enjoy his character a lot."

[bambiraptorx]

What is your opinion on the mystical magenta goat man? (Draxum)

Good dad? Deserved more screentime/emotional moments with the bois? (they gave us like 2 moments like that in the finale, and I'm sad that it's all we got)

owo

Ooh, I have so many thoughts about Draxum. Buckle up.

First of all, it's worst mentioning that when I started watching Rise, I knew ahead of time that he would get a redemption arc. (Reading the wiki and watching clips/analysis videos is what got me interested in the show, after all.) So admittedly, my view of how his redemption arc went was a little skewed just because I knew from the start that it would happen.

Personally, I wish more of it had been actually shown in the show. We get about ten seconds of him helpless in an alley then a hard cut to him in his apartment being bullied by Mikey, and I would love to see how that series of events played out. Also, his arc from mortal enemy to somewhat trusted by the turtles happened in one eleven minute episode, and I would have loved to see that tension be played with a little more. I do understand that the show was cut short, though, and I'm pretty happy with what we did get.

*looks at all my fics* honestly, I think part of the reason that they're all more or less about Draxum spending time with the turtles one way or another is because that dynamic was so underdeveloped and several things went unaddressed in order to give the show a decently cohesive finale.

For example, the roof incident. Leo is clearly very bitter about it and clearly mistrusts Draxum because of it, but the show just didn't have the opportunity to address it. Another issue that had to go unresolved was Draxum's relationship to Cassandra, because she seriously looked up to/trusted him in their episode together but he more or less threw her under the bus.

Not to mention all the little things that canon hints at but doesn't show. Like, somehow Donnie has Draxum's phone number, meaning they had at least one conversation off screen. How did that happen? Do they hang out or something? And really, the whole story of how Mikey got Draxum to move into an apartment and let him come over is so unexplored, at least within the show.

And speaking of things that canon doesn't show, I find Draxum's position among yokai to be absolutely fascinating, especially given that the only yokai he deals with in the show itself are antagonists to him (Big Mama, the Council of Heads, the cops) aside from the gargoyles.

There's a pretty big hole there about how he interacted with the rest of the Hidden CIty-- did he have friends? DId people know about his research and mutations? What did people think about him? And obviously the narrative doesn't address this because the story is about the turtles, not him. But still.

And why did he choose to create mutants in the first place? Its fascinating that the prophecy that motivates him is never actually shown in the show itself, just referenced. Why was mutating humans the best option to him? Did he try other things? When exactly did the Council tell him not to create warriors?

The timeline is pretty fuzzy, and frankly Draxum's motives aren't actually all that clear. That's probably why there's so many different interpretations of why he's doing what he's doing (and what, exactly, he's actually doing) throughout the fandom-- canon doesn't address it super deeply.

So yeah, his relationships with the turtles are really fun to think about and mess around with, but the gaps in the narrative (not a perfect phrase but the general idea) around him are fascinating to explore in their own right. And whether canon would have explored him more or not, I think its fun so I'm gonna do it lol. I have built so much lore about this man (almost none of which has showed up in my stories) because he's fun.

And he is genuinely a fun character, whether pre or post redemption. He's dramatic, he's arrogant, he makes bad quips (seriously, he has a line about "how very NOT NICE to see you" at one point, and that's how my sister used to talk before she figured out how to actually be sarcastic). He, the big bad of season one, ends up as a lunch lady at one point, which is frankly absurd and absolutely in tone for the kind of show that Rise is. He's a powerhouse at times and completely out of his element at others.

And once he's no longer actively fighting the turtles most of his screen time, there's a goofiness to the nature of his character, a powerful alchemist/warrior trying to live a normal life (mostly because a thirteen year old will yell at him otherwise) and not even trying that hard. Season 2 especially does a lot of fun things with his character, and I only wish that they're been able to do more.

TLDR: Draxum is probably my favorite character, and also I want to hit him with the hammer of 'forced to deal with teenagers'.

[my-pjo-stuff]

HEY DID U KNOW THAT THERES GONNA BE A NEW TOTAN ARMY OC IN THE TV SHOW!!?!!!

her name is Alison and the description is

"she went to Camp Half-Blood in her youth, but now lives in the mortal world"

Also the casting call is for actresses 18-22yrs old so how old do you think she's gonna be in cannon? im think in late teenager in her first appearance

Also what are your thoughts on the TV show? i like it so far, and i think that it is taking a much more jaded approach. It's leaning more heavily on the "gods are awful" bit and i think it's gonna be different but still awesome

To be quite honest, I have mixed feelings about the show.

Ireally like what they did with Luke and the changes they made to thale confrontation at the end! That shot of Luke’s face with these watery eyes was GOLDEN. It's my personal favorite scene, really shows he isn't a total villain and actually VERY sympathetic.

I just love the Luke scenes in general.

But I disliked the changes they made with the pearls- mostly because personally I just found it unnecessary yk ?

Another thing I disliked (probably the main thing I disliked) is Percy missing the deadline. Mostly because I just think it makes Poseidon and the gods look to good????

Like, to me a core thing of PJO is how shitty the gods actually are. INCLUDING Poseidon (If you really think about it). I don't think him giving up for Percy was really in-character for him.

I do enjoy the conflict it could bring with Luke though, where Percy only gets to really see the good side of his godly parent and thus can’t really understand Luke and his group. Thus we can have a Percy who has that slow realization over the course of the show.

I’m not sure what to think of how the show did Hermes. That whole talk about him being unable to get to Luke because of his fate or whatever….eh. Personally to me that's just a load of bullcrap and excuses- I really hope the show reveals and treats it like that too and doesn't try to make Hermes innocent.

Because frankly said? Luke was comically easy to prevent had Hermes just not sucked SO MUCH.

Like yeah Poseidon advised him not to go but A)Poseidon broke his how much advice with Percy, so it’s canon that Hermes didn’t HAVE to stay away, and B) how could Hermes genuinely apologizing and showing care for Luke and May have POSSIBLY made it worse?

So yeah, pretty mixed bag for me. I like some, I dislike some- I’ll definitely watch S2 though!

As for Alison, I honestly assume she’ll be around the same age as Luke. Possibly as a love interest for him?

Personally I don’t really care much what she’s gonna be exactly, I’m just excited for more Titan Army content!

I’m hoping we’ll get more focus on them in the show, especially when we throw Alison into the mix. The books sadly had the TA quite underdeveloped, which I hope the show can fix.

But honestly? I’m happy if they keep up the Luke scenes to the same quality they were so far. Real 10/10.

[neversetyoufree]

Shipping is fun and all but why do the whole fandom makes it like VNC was about rotting for Vanitas to be with either Jeanne or Noe and sexuality ? It's not what the story is about, it's about Noe and Vanitas's story together and how Noé will end up killing Vanitas. Is it because it's also treating of their relationship that the fandom focuses so much on romance which is a very sub themed (after all in shounen romance is always a subplot, more or less underdevelopped)

I mean, when it comes to Vnc, I'm not so sure that the romance is underdeveloped, anon. I 100% get not caring about romantic shipping, and that's fair, but sex and romance are big parts of this story. I don't think it's unreasonable to be invested in them when they're very present in the manga itself.

You're right that shonen series in general tend to be very light on romance. However, a majority of shonen also don't have their characters very regularly engaging in a metaphor for sex.

It's pretty undeniable that the blood drinking in VnC is meant as a sexual metaphor. Sometimes this is played for horror (like Astolpho's backstory), and sometimes this is played for horny (like the VaniJeanne scenes), but it's almost always there. It doesn't mean that every instance of blood drinking is meant to symbolize literal sex, but both in-universe and in terms of symbolism, drinking someone's blood in VnC is an erotic act. And there's a lot of blood drinking.

With that said, given that these characters are constantly running around drinking and/or craving each other's blood, of course people are going to talk about romance a lot. "Which character wants which other character's blood?" is a huge driving factor for the character dynamics in this story. And there's a lot of straight-up discussion of romance as well!

You cannot talk about or analyze Noé and Dominique's relationship without talking about her massive crush on him. You cannot analyze Vanitas and Jeanne's relationship without talking about their mutual attraction and all the blood drinking scenes. You cannot fully analyze Noé and Vanitas's relationship without talking about how much Noé wants Vanitas's blood.

It may not be the norm for shonen, but Vnc is, objectively speaking, a series that puts a fair amount of emphasis on romance. It's not the main plot, but neither is it a clumsily handled background element like in Naruto or something. This is a series driven by the relationships between its characters first and foremost, and several of those relationships are canonically romantic and/or horny.

(Also, as a bonus fun fact, there's an interview with Mochizuki where she directly talks about how she wanted Vnc to focus more on both action and romance than her previous works).

And as for the Vanoé angle specifically, you're right. Vnc is the story of Noé and Vanitas's relationship. It's the story of how they meet, what they do together, and how/why Noé will eventually kill Vanitas with his own hands. And the thing about that relationship is that it is frankly fucking FULL of queer subtext. Like half the writing on this blog, for example, is about Noé and Vanitas's relationship, and not all of it is gay. Sometimes I talk about the death and tragedy angle, sometimes I speculate about the concrete plot details of what's to come, and sometimes I talk about how absurdly queer-coded Noé's whole "your blood smells amazing" routine is. It's not the only thing going on between them, not by a long shot, but it's there! And I think it's quite reasonable to discuss it.

So like, everyone engages in fandom differently, anon. It's fine to not give a damn about the romantic angle. I personally am almost incapable of caring about ships that aren't heavily implied in their canon sources, which makes me a bit of the odd one out in some fandom spaces.

However, speaking for myself again, this is a meta blog. More often than not, when I talk about romance on here, it's through the angle of examining what's there in canon. I find the relationships between the characters to be the most compelling part of Vnc, so that's what I write about. Sometimes that means writing about how Noé's constantly trying and failing to save his loved ones generally, sometimes that means writing about the history between Vanitas and Misha, and sometimes that means writing about how fucking in love with Vanitas I think Noé is.

I can't speak for others, but I personally don't think I'm reading anything into this series that isn't there. It's fine if it's not an angle you care about personally! I fully support you in blacklisting ship tags if the discussion of romance gets on your nerves. I cannot fucking stand "ship wars," so like. I get it. But "shonen usually doesn't care about romance" does not mean "all the people talking about romance in Vnc are doing it for no good reason."