#also love his backstory and the writers should add it in like this

[daisysmalia]

‘What the writers may or may not have written yet’ I’m taking that quote as another clue that he’s staying around lol

[druizard]

Alright so, I'm going through my thousands of BG3 screenshots. I tend to snap pics of conversations and dialogue that I like or find interesting and then ultimately forget about them cuz my brain is mashed potatoes half the time.

ANYWAYS, the scene in act 2 when you save Rolan and he has a breakdown has a lot of lines that I adore but also they break my heart because not only do I love Rolan, but I also relate to him in a few ways. At least on the self loathing part.

Right off the bat, this is what he says after you rescue him. There are so many things he has done right, but he cannot see them, not past his failures, no matter how small.

I particularly LOVE how Larian wrote extra lines for different classes in conversations!! I don't have lines from all of the classes I've played (I'll probably add more to this post later if I end up grabbing more screenshots of em) but I do have a few of my favorites. Here we have my origin Gale, telling Rolan, "A good wizard knows when to ask for guidance - for help." To which, Rolan replies.

Heart-wrenching. And if you ask him, "Should I have left you to die?"

(excuse me while I cry)

My Druid/Bard, Aislyn, in another play-through, tells him, "If it helps, when I re-tell this story, I could say you killed all the monsters?" His response:

While he is speaking to you in this scene, he starts off angry and venomous but very quickly his tone shifts and his voice begins to quiver as if holding back tears. (Bravo, George Taylor) He talks a big talk in Act 1 at the grove, but he really did mean it when he said "I care about our lives, our futures!" He says his greatest ambition is to become the greatest wizard in all of Faerûn, but it all means nothing if Cal & Lia aren't there to share his future with him.

Their family bond is so important to all three of them and I only wish we had more backstory. I want to know what happened to them and what happened specifically to Rolan in his past that made him feel this way about himself. I love seeing everyone's headcanons, but I'd love to know what the writers had in mind when they wrote him into the game.

Anyways, I love Rolan, Cal and Lia, maybe more than anything else in the entire game, thank you for coming to my TED talk.

[thesulkycroissant]

So there's this saying that the only time you see the middle of the road is when you're going from ditch to ditch, and that most of the time is how I feel about the canon v fanon debate.

Genuinely, I feel like people get so stagnanted in this idea that something isn't canon - which, what is comic canon anyway? I strain to unravel the mystery of which comics get to "count" and which do not - and focus on it so much that they miss any aspect of nuance.

Tim's parents are a great example. Tim's parents exist in the way they do for a simple out-of-universe reason: the writers wanted to avoid the mistakes they made with Jason by both differentiating him from Dick (making him not an orphan) and giving him a "buy-in" with Dick (something to connect them -> the circus). (Their logic was that Dick was the key to getting readers to like Tim, and that neglecting his buy-in was their misstep with Jason.) At the same time, Tim having parents is a problem because what parent is not going to notice their kid being gone all the time playing midnight vigilante? Solution: absentee parents. But now the shift to in-universe happens. Tim's parents are gone all the time, but it's not malicious; they're just kind of clueless. They love Tim. Tim loves them. But they are not around. And this out-of-universe choice, once you enter into the universe, logically can - maybe even should, if you're taking the characters seriously - effect how a character reads.

Tim's parents are gone all the time. There's every probability that would cause trauma. Unintentional, but fun to explore! The comics do a very little. I think fandoms can often make the mistake of believing subtle abuse (like neglect) is not sufficient, so it gets elevated to something physical. But your parents loving you and also causing you trauma is a relatable experience, I think. Even your parents doing their best and still causing you trauma is.

Jason being the angry Robin is another rough one. Because yeah, I agree, Scott Lobdell did some wacky and unkind things to Jason's backstory. But Jason, even going back to his original (not original, but his original non-just-Dick-but-blond) backstory, is a traumatized orphan willing to take the risk and steal tires from the Batmobile as a means of survival (in Gotham! In Crime Alley!). Why can't Jason be angry? In the throes of adolescence, at a time when he feels safe with Bruce, doesn't it make sense for his trauma to find its way out in anger? Can't he both believe Robin is magic and be angry? Can't he be sweet and angry both?

Dickie and anger. Yeah, anger plays a role in certain story arcs of his. In NTT, and in the first 80s Nightwing run, the stories take pains to show that the anger is triggered by something and channeled into brutal focus. And that it does not serve him. Dick's relationship with Kory in NTT nearly falls apart because of his anger. He treats her very poorly. I see a lot of people saying they want Dick to be angry, but not allowing Dick to learn how to control his anger is not giving the character his dues either.

And Damian. Shoot. Reading the One Bad Day comic for Ra's al Ghul kinda ruined me a bit because of how much Ra's obviously loves and respects animals, and how can you not see the echo of that in Damian's love of animals? Damian's League trauma is such a thing worth exploring, and I think the value of exploring it only goes up when you add in the complicated factor of the fact that Talia and Ra's do love him, and he does see them when he looks in the mirror, and every day Damian has to decide which parts of his family - his whole family - are good to keep and which are not.

Anyway. There's probably more, but this post is already pretty long lol. Nuance is cool, that's all.

[racefortheironthrone]

What did you think of X-Men Blue Origins?

(I may turn this into a People's History of the Marvel Universe later today, so keep an eye on this space.)

X-Men Blue: Origins and the Power of the Additive Retcon

(WARNING: heavy spoilers under the cut)

Introduction

If you've been a long-time X-Men reader, or you're a listener of Jay & Miles or Cerebrocast or any number of other LGBT+ X-Men podcasts, you probably know the story about how Chris Claremont wrote Mystique and Destiny as a lesbian couple, but had to use obscure verbiage and subtextual coding to get past Jim Shooter's blanket ban on LGBT+ characters in the Marvel Universe.

Likewise, you're probably also familiar with the story that, when Chris Claremont came up with the idea that Raven Darkholme and Kurt Wagner were related (a plot point set up all the way back in Uncanny X-Men #142), he intended that Mystique was Nightcrawler's father, having used her shapeshifting powers to take on a male body and impregnate (her one true love) Irene. This would have moved far beyond subtext - but it proved to be a bridge too far for Marvel editorial, and Claremont was never able to get it past S&P.

This lacuna in the backstories of Kurt and Raven - who was Kurt's father? - would remain one of the enduring mysteries of the X-Men mythos...and if there's one thing that comic writers like, it's filling in these gaps with a retcon.

Enter the Draco

Before I get into the most infamous story in all of X-Men history, I want to talk about retcons a bit. As I've written before:

"As long as there have been comic books, there have been retcons. For all that they have acquired a bad reputation, retcons can be an incredibly useful tool in comics writing and shouldn’t be dismissed out of hand. Done right, retcons can add an enormous amount of depth and breadth to a character, making their worlds far richer than they were before. Instead, I would argue that retcons should be judged on the basis of whether they’re additive (bringing something new to the character by showing us a previously unknown aspect of their lives we never knew existed before) or subtractive (taking away something from the character that had previously been an important part of their identity), and how well those changes suit the character."

For a good example of an additive retcon, I would point to Chris Claremont re-writing Magneto's entire personality by revealing that he was a Jewish survivor of the Holocaust. As I have argued at some length, this transformed Magneto from a Doctor Doom knockoff into a complex and sympathetic character who could now work as a villain, anti-villain, anti-hero, or hero depending on the needs of the story.

For a good example of a subtractive retcon, I would point to...the Draco. If you're not familiar with this story, the TLDR is that it was revealed that Kurt's father was Azazel - an evil ancient mutant with the same powers and the same appearance (albeit color-shifted) as Kurt, who claims to be the devil and is part of a tribe of demonic-looking mutants who were banished to the Brimstone Dimension, and who fathered Nightcrawler as part of a plot to end this banishment.

I don't want to belabor Chuck Austen, because I think that Connor Goldsmith is right about his run actually being a camp cult classic in retrospect. However, I think we both agree that the Draco was a misfire, because of how the retcon undermined Kurt's entire thematic purpose as established in Giant-Size X-Men that Nightcrawler was actually a noble and arguably saintly man who suffered from unjust prejudice due to the random accident that his mutation made him appear to be a demon, and because of how the retcon undermined the centrality of Mystique and Destiny's relationship.

X-Men Blue Origins

This brings us to the Krakoan era. In HOXPOX and X-Men and Inferno, Jonathan Hickman had made Mystique and Destiny a crucial part of the story in a way that they hadn't been in decades: they were the great nemeses of Moira X, they were the force that threatened to burn Krakoa to the ground by revealing the devil's bargain that Xavier had struck with Sinister (and Moira), they were the lens through which the potential futures of Krakoa were explored, and they ultimately reshaped the Quiet Council and the Five in incredibly consequential ways.

This throughline was furthered after Hickman's departure, with Kieron Gillen exploring the backstories of Mystique and Destiny in Immortal X-Men and Sins of Sinister, and both Gillen and Si Spurrier exploring their relationship with Nightcrawler in AXE Judgement Day, Sins of Sinister, Way of X, Legion of X, Nightcrawlers, and Sons of X. One of the threads that wove through the interconnected fabric of these books was an increasing closeness between Kurt and Irene that needed an explanation. Many long-time readers began to anticipate that a retcon about Kurt's parentage was coming - and then we got X-Men Blue: Origins.

In this one issue, Si Spurrier had the difficult assignment of figuring out a way to "fix" the Draco and restore Claremont's intended backstory in a way that was surgical and elegant, that served the character arcs of Kurt, Raven, and Irene, and that dealt with complicated issues of trans and nonbinary representation, lesbian representation, disability representation, and the protean nature of the mutant metaphor. Thanks to help from Charlie Jane Anders and Steve Foxe, I think Spurrier succeeded tremendously.

I don't want to go through the issue beat-by-beat, because you should all read it, but the major retcon is that Mystique turns out to be a near-Omega level shapeshifter, who can rewrite themselves on a molecular level. Raven transformed into a male body and impregnated Irene, using bits of Azazel and many other men's DNA as her "pigments." In addition to being a deeply felt desire on both their parts to have a family together, this was part of Irene's plan to save them both (and the entire world) from Azazel's schemes, a plan that required them to abandon Kurt as a scapegoat-savior (a la Robert Graves' King Jesus), and to have Xavier wipe both their memories.

Now, I'm not the right person to write about what this story means on a representational level; I'll leave it to my LGBT+ colleagues on the Cerebrocast discord and elsewhere to discuss the personal resonances the story had for them.

What I will say, however, is that I thought this issue threaded the needle of all of these competing imperatives very deftly. It "fixed" the Draco without completely negating it, it really deepened and complicated the characters and relationships of both Raven and Irene (by showing that, in a lot of ways, Destiny is the more ruthless and manipulative of the two), and it honored Kurt's core identity as a man of hope and compassion (even if it did put him in a rather thankless ingénue role for much of the book).

It is the very acme of an additive retcon; nothing was lost, everything was gained.

I still think the baby Nightcrawler is just a bad bit, but then again I don't really vibe with Spurrier's comedic stylings.

[ilikekidsshows]

-long ask ahead-

Big fandom blog recently said that ML is a character-driven show, that it shows what the characters WOULD do, not what they SHOULD do. This really got me thinking.

Somehow I can kinda see their point; if there was a book about the events of ML written completely from Marinette's POV, we could see all her thoughts and how she disregards other characters' feelings/existance and it would make sense because they are not of any priority to her view of the world. As Marinette she has a strong drive to get Adrien into her hands that leads to all kinds of funny/questionable situations. Her depictions in the show where she paranoidly imagines scenarios with Adrien or is plotting to get to him is what I could see as character-driven moments. No-one outside of herself is giving her these goals and ambitions.

But aside from that? The Ladybug/superhero side seems only reactive instead of active. She saves the day when the villains attack, but has no ambition to go after them when the attack is over. There is no real tie to her personal life aside from her having to play the hero role and some attacks interrupting her civilian life. If the story wouldn't emphasize that she is the greatest Ladybug, and instead anyone could do it as well, then Marinette probably wouldn't do it. She doesn't seem personally attached to being Ladybug, as seen in Kwami's Choice. If we removed Hawkmoth with all his backstory and ambitions from the show, there wouldn't be a Ladybug, there wouldn't be a plot outside of Marinette wanting Adrien. Marinette is not interested in the lore of the miraculous or in being a superhero, she wouldn't do anything without an outside influence. So this side is more plot-driven if we view Hawkmoth as the plot-tool?

And what about characters popping out of nowhere and mingling with the plot (e.g. Felix, Chloe)? Chloe's actions are clearly often just there to further the plot of the episode instead of giving us insight on her character. Felix's goals change every other episode. Tomoe could be any other prop and we wouldn't know more about her, etc.

Can stressing about being the guardian be viewed as character-driven? No-one outside of Ladybug herself really pressures her to act a certain way in that role (Su-han could be talked down easily, I don't count him). Is her keeping secrets and disregarding Chat Noir a result of her controlling behaviour, thus character-driven? (but it's also extremely convenient for the writers to add tension or because they don't care about Chat Noir) And how is this perspective meant to make it more bearable to watch unfolding?

I did look up some character-driven vs. plot-driven posts and explanations, but the more I think about it in the context of ML, the more it blends together and I get no clear answer. Of course, there's probably very few exclusivly 100% character- or plot-driven stories, and certainly not a show like ML, but some elements should be easier to put in one box or the other? I'm not even sure about the definitions of character- vs plot-driven anymore, I'm so confused, I'm sure I got it wrong along the way and mixing in-character with writer's views and so on.

I would love to respark my enjoyment of the show with a simple change of perspective but I think that sadly won't do. In the end, whether it's this or that, I'm still disappointed and unsatisfied with how it went in the long run. Yet it's still interesting to think about how people who still really like the show could view it.

I think you mentioned on your blog that you have some education in media-analysis or something of the kind. If you like, could you share your perspective on the claim at the top?

What's the common definition of character-driven stories and can we apply it on ML?

Would this change of perspective make some writing choices more enjoyable (it's subjective, I know)? I think a lot viewers expect a superhero show to be more plot-heavy and characters to develop (or characters wanting to improve themselves somehow), so if we went into ML thinking from the start "this is not about the plot and how people should act, I'm just watching characters do whatever they would do" would our reactions be really different?

How would the show have to be written and presented to be truely character-driven?

Sorry that's a lot I ask. Feel free to answer whatever you like (or ignore the message). Thanks for reading anyway.

Anonymous asked: Miraculous is character driven story, the plot is determined by what the characters's do rather than the usual opposite with wath the characters doing is determined by the plot, said a friend of mine when we discussed before. What's your opinion about it if I may ask?

---

Okay, so I'm just going to start this by saying that "character-driven" and "plot-driven" are not literary analysis terms, but writing tip terms. It refers to what the focus of your story is. It means that, when you write a book or a movie, you should usually pick to prioritize an in-depth character study or a story with a lot of plots or world-building (the lore, if you will). Character-driven stories have a plot or several, but it isn't intended to be the main draw, so it can be sloppy while more work gets put into making sure the characters are complex and have clear arcs from beginning to end. Similarly, plot-driven stories can have complex characters, but the main draw is meant to be the larger narrative.

Plot-driven vesus character-driven is a writing tip against avoiding a bloated story full of unnecessary details. If your story is about two nobles dealing with an arranged marriage and the pressure their families put on them, having a complex magic system and magical duels using said system take up a bunch of pages is unnecessary. Similarly, if you're writing a story about a complex magic system, how it gets used and how it affects the society at large, dedicating a lot of time to a romance arc takes attention away from the actual points of the story, like the dreaded "forced Hollywood romance" in action/adventure movies.

In a comic or TV series, you usually (thanks companies for cutting episode counts; you suck) have more time and space to deal with more stuff, and varying stuff can improve a long-running series. In an ongoing, long-running superhero comic or show, you can and should use both and have them take turns. This is, in fact, the industry standard. Sure, a Batman story can technically have him chasing down Scarecrow, but, if the bulk of the episode/issue/trade is him battling his inner demons that the Scarecrow's Fear Toxin causes him to hallucinate, then is the story really about chasing down Scarecrow, or is it about developing Batman's character? (It's the latter.)

In general, I don't think "character-driven versus plot-driven" is a useful analysis tool, because it's binary. Basically, in media analysis, you should always try to avoid yes or no questions, but many binary questions are equally bereft of deeper meaning. Asking if Miraculous is character or plot-driven will answer that question, but not anything else. You can describe how you came to that conclusion, but the character/plot divide won't by itself create any other points to be made about the text, you need another tool/lense/question for that.

In addition, character-driven versus plot-driven can't refer to "what moves the story", because moving the story is the plot. The plot, or plots, are the cause-and-effect chains within a story. A plot doesn't move by itself, either natural occurences or character actions will move it along, you need a cause and effect. This also means, that, even if character-driven was a way to describe story progression, only stories about natural disasters could be not-character-driven.

In the top ask, the would vs should division seems to imply that the person describing Miraculous as character-driven is trying to say that, in Miraculous, the characters’ actions are supposed to be logical from the perspective of their personal motivations and not necessarily morally correct. This is how I’ve seen most people defend Marinette's villain arc; that we aren't meant to agree with her, but simply wait and see what the payoff will be.

The problem with this approach to analyzing Miraculous specifically is that the writers have never committed to a long-term payoff. I just can't believe that Marinette's villain arc will lead to a satisfying conclusion instead of the show either dropping the whole thing without addressing it, or having Marinette once again get so upsette that her victims have to console her. They're already setting up the possibility for instant forgiveness by focusing on how upset she was about the lying she “had” to commit. She already feels bad, so punishing her would be wrong, and the “punishment” here refers to any kind of long-term consequences for her actions.

Of course, the implication also is that, while we supposedly aren't supposed to agree with Marinette, we can't hold her too accountable either, we can't “demonize” her or want her to get “punished”. Which just sounds like we aren't even allowed to expect this “plotline” to have a satisfying conclusion. It could very well be that these people would think “yeah, Marinette was wrong but she feels really bad about it so let's just everyone forget about it until she does it again” would, in fact, be the satisfying payoff. Basically, even wanting the other characters to be justifiably upset with Marinette is the same as wanting to “punish” Marinette, so we can’t expect any character to behave like they have motivations or feelings outside of pleasing Marinette.

But, like, that's that thing with character actions supposedly making sense from their perspective; as you said in that book comparison, it only makes sense from Marinette's perspective. From any other perspective, what on earth is motivating the other characters to keep giving Marinette chance after chance while she squanders them all? She's not that good of a friend that she’d earn that much leeway, not from supposedly reasonable normal people who are merely acting how they would act instead of how the Marinette-favoring writers think they should act. The would versus should argument therefore only refers to Marinette and is just an excuse for her actions.

In addition, we have one big problem with the argument that Marinette is supposed to be a flawed character and anyone criticizing her is just too impatient to wait for the payoff for her character arc, in addition to the writers’ inability to write payoffs that I already mentioned. The other problem is that, while the audience might think Marinette needs to grow and become better, the writers don't. Every single one of Marinette's self-growth arcs has been scrapped: her inability to communicate got vindicated, her awkward romancing got excused and her quest to confess to Adrien got resolved by Adrien confessing instead. Marinette isn't a character who grows. In addition, the writers' every comment on the S5 finale has been nothing but excuses for why Adrien not knowing anything is right, because Adrien is just too emotional (like a hysterical woman who needs to be controlled because the writers are that kind of people).

So, in terms of what character-driven and plot-driven even mean: if Marinette is both completely disengaged from the plots of stopping the villains permanently or figuring out the Miraculous lore, and is a static character who doesn't actually grow or have a discernible arc, what is Miraculous as a show even about? In addition to the love square, it used to be about character development before the retool, but, after said retool, the characters have stagnated and the show just spins its wheels until the writers decide to have something cool happen to ramp up social media engagement. Now all we have is the love square and Marinette acting like she’s the center of the universe, so I guess the show is about the love square and Marinette, so it's technically character-driven, if character-driven can mean “making one character look like she’s the only one deserving of sympathy or celebration”. I guess you could say the show is Marinette-driven, it’s about Marinette and what she wants and what a girlboss she is while getting what she wants.

Frankly, it kinda sounds like the new character-driven vs plot-driven comparison is trying to create a new way to say: “don't expect a kids' show to be well-written.” It's kinda like people are saying: “of course the plot is shit because Miraculous is about the character writing”, but, like, the character writing is shit too. That’s what I’ve been saying since the S5 finale aired and Astruc started claiming that Marinette won and was truly kind and Adrien can't be trusted to know the truth about Gabriel: the way Marinette is written doesn't match how the writers want her to be viewed. The writers are only really interested in writing one character, but in a way where all her character arcs get scrapped, which, I think, doesn’t even hit the bare minimum requirement of being character-driven the way writing tip websites intend it.

My background in media analysis mainly means I'm pretty good at spotting patterns, and Miraculous' patterns reveal sloppy plot writing and sloppy character writing. It's all just been slop since the retool, mostly, I think, because the writers aren’t really interested in developing their characters or plots. The writers’ main focus seems to be to try to sell Marinette as an amazing person who deserves all the attention, while everything outside of isolated “cool” scenes gets overlooked. The wisemen of the groupchat saw these definitions and called Miraculous a “look at our cool girlboss”-driven show.

[arceespinkgun]

alright I know you haven't talked about this in a while but you're pretty correct about the way jazzprowl is written usually being weird. One or both of them is always portrayed in a weird offensive way (it's either racist towards jazz, portrays prowl as an ableist stereotype, BOTH, and MORE)

I agree with this. It took me a while to think of what I could add to this and I think I'd also say: it's important for everyone to know that when I see people injecting bonus ableism into fics with these characters in them, Jazz is also normally portrayed as an ableist stereotype (racist as well as ableist)! Whenever Jazz is written as being super disruptive, lazy, and chaotic, or when he's written as super violent and scary and people use terms like "schizo" (I'm sorry but I've seen it) to describe him, these all fall into the overlap between racism and ableism. It's the same bigotry that in the real world results in Black men and boys to be deemed disruptive and violent over their peers. And I probably don't need to say it at this point, but the character Jazz has never been portrayed like this in any media, not even close. And there has also never been canon media where Jazz disrupts an ultra-rigid Prowl into changing anything about himself (and there never should be because that sucks). Hey, is now a good time to point out that in the G1 comics, as far as I can tell Prowl is just one of the many, many Autobots who are massive Blaster fans and they have nothing but positive interactions, and Blaster in those comics actually is a super disruptive, loud, angry, sometimes violent character? I mean, they have to be friends because they both hate Grimlock....

I also think something I haven't discussed as often but is equally important is that we should all be looking at canon with a critical eye as well. If you look at the way some IDW writers like James Roberts, Nick Roche, and John Barber wrote the characters, they utilized a lot of extremely problematic tropes as well. For example, I personally balk every time I see someone saying that Barber did Jazz justice, when what he did to him was make his entire story center on cops and police brutality and barely let him grow or find any community. He also decided that Jazz's backstory would be that he was a beat cop on Cybertron... I think it's bizarre for anyone to look at how Jazz has been portrayed over time and think it makes total sense for that of all things to be his backstory. I'll also just never forgive Barber for writing that issue where he had Prowl point a gun at Jazz's head to get his attention, and had Jazz making fatphobic jokes about Prowl (weird in context for SO many reasons), and also tried to resolve the issue with some kind of friendship moment despite all of that.

Roche, JRo, and Barber also knowingly took every trait Prowl had as a character before their stories—ones easy to perceive as signs of disability—and twisted them into signs of cartoonish evil (I know Barber seems to think he did not write him as a flat evil character, but he's kidding himself). Understandable meltdowns about stressful situations and injustice get turned into a running gag and scary villainy, a lack of social awareness and literal thinking get turned into the most flatly evil dialogue I've ever seen ("You can apologize later," anyone?), a drive to make everything just and fair and better for everyone gets turned into arrogance (Barber, the fact that you wrote this character saying something like, "What's morality got to do with any of this?" means you failed). I especially hate these decisions because these writers also showed a ton of favoritism towards this character. You could feel how much they LOVED making him as revolting as possible while also making sure that instead of facing reasonable consequences he'd always go through the most disturbing, traumatic, worst shit ever so there wasn't even the catharsis of fair consequences... while also giving him tons of prominence.

I say all of this because both canon and fandom works should be examined critically and that IMO it's not only a good idea to not make things worse in fanworks, but also probably a good idea to go along with the better parts of canon and not the super problematic parts.

[elodiah]

Fic authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers! Spread the self-love 💞

Thanks @kcscribbler!

This was interesting, because I had to go with my gut feeling in the moment, but I reckon the contents of this list could easily change at any given time depending on my mood.

1) Revival

Summary: Loki and Mobius take what amounts to a vacation, whilst Loki recovers from his harrowing experience of babysitting the multiverse.

This began as a single-chapter ficlet to fill an ask game prompt. Later, I decided to revisit this version of Loki and Mobius to fill a bingo prompt in ch 2, then a random computer-generated prompt I had in my ideas doc for a 3rd and final chapter. Apart from a little Loki-whump in ch 2, it’s generally a sweet, soft and cozy pre-romance, and very cathartic to write.

2) Within

Summary: Loki and Mobius are marooned on a volcanic nightmare of a world, their survival depending solely on Loki's tenacity.

Part of my ‘Patience-verse’ series, this fic contains some of my favourite tropes, such as ‘trapped together in danger’, ‘magical drain/depletion’ and ‘the power of love’. Also a little twist of UST/URT — gummy bear feeding, my beloved! 😆

3) Sleepless

Summary: Mobius and Loki get stuck in a broken elevator for hours, and as a result Mobius discovers what's been bothering the object of his (as yet unspoken) affection.

Also a part of ‘Patience-verse’, and it’s such a trope-y scenario, you’ve gotta love it. I mean, that was the whole point of the original fic that spawned this series, after all. Basically, my reason for choosing this is not just because I’m absolutely feral for exhausted!Loki and sleepy cuddles, but also because I can’t believe I was able to write 3k+ words about Lokius in a lift. 🤷‍♀️

4) Apokruptein

Summary: A curiosity on an unknown world hurtles Loki and Mobius into peril.

A double bingo prompt-fill for ‘Forest’ and ‘Cursed object/artefact’. This 4-chapter fic is not really my best writing, but it’s the only time so far I’ve gone all-out with a full on adventure style fic, with a little worldbuilding/backstory, a lot of whump, and the lovely trope ‘temporary amnesia’ to boot. I worked really hard on the conception of this one, and I’m pretty proud of it.

5) I’ve lumped together two ficlets for my #5 spot, because they’re both similar in that they are absolutely NOT anything near what I would usually write.

a) Sit Tempus

Summary: Furnishing their new apartment, the last thing on Loki and Mobius’ list is a decent couch.

An idea that popped into my head during a boring drive home… and I wrote, edited and posted the whole thing in one night. 😏 My only ‘established relationship’ fic to date (watch this space.. 👀), although nothing remotely spicy, I should add. Just pure cute fluff, and a very vague S2 fix-it.

b) Unexpectedly You

Summary: A kindness from Loki for a mutual friend causes Mobius to have a ‘Moment’.

Terrible summary, but it’s another little ask game prompt fill, so nothing much happens in it at all. A lot of people seemed to like this one, which kinda made me like it more too. 🤣 It’s simply Loki being a sweetheart, and Mobius being proud of him. 🥹

I also wanted to add two honourable mentions for Reach (Loki/Star Wars crossover) and Reset (Loki/Red Dwarf crossover). I never in a million years thought I’d be capable of writing ONE passable crossover fic, let alone two… so the fact I managed it makes me super proud, even if they’re ludicrously niche.

[quasiquack666]

My Gay Agenda aside, it honestly feels really late for Gestella to appear as a love interest for Kayden?

She only first appeared in Chapter 294, which seems like the middle of the comic. And the writers didn't even add backstory for Gestella and Kayden (like they did for Kayden & Kartein or Kayden & Pluton). They clearly don't know anything about each other.

(More detailed spoilers under the break. Screen readers stop now)

There's no way Gestella would believe how sappy those letters were if she knew Kayden, nor would Kayden have been so distrustful of her with Jiwoo if he knew that she had a decent personality (similar to his understanding that neither Kartein or Pluton would likely hurt Jiwoo, which is how he led Kartein to Jiwoo's house and only fought Pluton for jabbing at his ego rather than solely because he discovered their location).

Developing a relationship for KayStella from square one in the middle of the comic sounds like a clusterfuck waiting to fail.

Especially when the whole current basis of their relationship is them being pissed off at each other based on misunderstandings.

The forced romance only feels more jarring when Kartein and Kayden had the perfect romantic setup in contrast. They had a clear background from how they talked to each other, they knew how to get on each other's nerves, they could trust each other (in a bare sense but still), and Kartein was introduced in Chapter 136 which gives readers plenty of time to get to know him. Kartein has several major development arcs since his introduction and only became closer to Kayden. Kartein is a well-developed character whose relationship to Kayden never felt very forced or contrived solely for a romance plot. Kartein is actually a character by himself before he would be romantically inclined.

Therefore, the writers knew how to set up a character to have long-term development alongside Kayden while also getting development by themselves. So if anything, Gestella should have been the one introduced early on so we could get to know her.

I'm just pointing out that it's a mistake logistically for her to be introduced so late, compounded with having no shared background to Kayden. Their relationship will almost certainly be inferior to one that is well-developed over the majority of the comic versus halfway through.

Because personally, I adore Gestella, stupid plotline aside. So the way the writers throw both her and Kayden under the bus for the forced romance plot really pisses me off on so many levels. The plot feels utterly disrespectful to their development. It makes Gestella yet another forced female love interest (which sucks even worse when the only main female characters are made solely for the males). Then randomly shoots a romance plot at Kayden even though he's been fine this whole time as just a cat dad to Jiwoo.

Again, Gay Agenda aside, even my Het Agenda is ruined by this. How am I supposed to ship their canon selves on such a shit foundation? (Although my headcanon ideas for them are still raging; I'm too much of a simp for them separately to not pair them together. Fuck)

Meanwhile, Gay Agenda at full rainbow power, Kartein and Kayden is obviously the queer romance that we will never get in canon. They were the perfect setup and have been since their first chapters. This forced heteronormative nonsense is why queer pairings are the majority of fandom ships, let's not lie.

(Shoutout to @heartrenderscove . Our convos make me realize all this shit)

[broken-everlark]

Man Netflix is going to fumble so so hard with s2 I can feel it. My anxiety and worry just mix together and man. I'm not as excited for s2 as I should be..

They are going to mess up Tyler. They have such a good story with him (his story yes is intertwined with Wednesdays) they could make a deep story about him, his mother, Donovan and the Hyde species as a whole. But I guarantee they will mess it up and fumble so hard with it..

Probably make him a full villain, but then they'll kill him off. Probably sell out to the wenclairs and make it happen because they want money/views. Probably make Ajax a dickhead and randomly change his character so that it can happen... why can't we just have two friends that are girls? Are girls not allowed to be just platonic friends with either gender now?

Yes, I'm saying sell out specifically because I guarantee that's not what they were planning on. They queerbaited with the novel and are going to sell out. I love jenna, but she's also a huge hypocrite saying she wants NO romance, then turns around & says she likes wenclair like, really? Then why bother saying no romance? What's with everyone's clear hatred of a guy character? Women can be strong with love, and women can be strong without bringing men down. You realize that, right? Idgaf if they add in lgbt related characters, but Wednesday is a classic character who has more often had a boyfriend, so why change her? Why mess with classics?

Yes, wenclairs probably outnumber normal viewers. Which sucks because apparently girls can't be friends with other girls or with men. Apparently, women can't have any platonic friends. I don't mind wenclairs, but it's the bashing on Tyler. I absolutely loathe. Like, I get it. You all don't like a hetero ship like wyler, but there is no need to go after Tyler the way wenclairs does. I don't know... they have amazing enemies to lovers, or without romance, then amazing redemption arc for Tyler and a backstory for the entire galpin family. But they'll most likely mess it up. I'm still clinging onto the Our house stuff. But I don't even know anymore. I'm clinging to the fact that hopefully, the writers will keep making Enid and Wednesday a sister like relationship. But I doubt it...

[miraculouslbcnreactions]

Do you think they should have made Colt a good father to Felix? Or are you fine with him being a bad father?

I don't think that Colt should have been anything. He died off screen before we even met Felix and Felix is a minor character. Why is he getting more backstory development than Kagami when Tomoe is alive and actively involved in the plot? Wouldn't it have been far more interesting if the play was her story?

But if we must include the mustachioed cowboy man, then I would make him a good father or, at the very least, a mediocre one. I'd do this for reasons that have nothing to do with me wanting Felix to have a happy childhood. I'm fine with him having a tragic past! The problem is that this is a story and, in terms of story telling, there is no reason to give him a tragic past. It adds nothing to the story. In fact, I'd even go so far as to say that it detracts from the story, but we'll get to that in a minute. First let's go over why it's a pointless addition.

In his titular episode, Felix is a brat who tries to destroy Adrien's life. Those actions actually made more sense when we thought that Felix loved Colt and was acting out over Adrien not coming to Colt's funeral. Now that we know the full story, we're left asking, "Okay, so, why did Felix do any of that?" And don't say that it was to help him get the ring because it didn't help him get the ring. He got it from hugging his uncle and there were far simpler ways to get a hug.

And why did Felix even want the ring? That has yet to be explained because, in Strikeback, he was planning to go out of the country as "Adrien" without ever offering to exchange the ring. He simply stole the fake peacock and got out of dodge. He had no possible way to know that Ladybug would come to him for help, allowing him to offer up the miraculous and use the ring to sweeten the pot. I also don't believe for one second that he needed to sweeten the pot. He could have offered up the miraculous and nothing else and Gabriel would have gone for it. So once again, what was the plan with the ring, Felix? What was the plan?

While we're on the topic of Felix getting the peacock, Colt being abusive adds nothing to that plot either. Whoever has the peacock can snap any sentimonster out of existence. Felix could have the best damn childhood on the planet and it would still make perfect sense for him to want the peacock!

The only reason to make Colt abusive is if you want to explore that and use it to develop Felix's character, but I have absolutely no faith that they're going to do that. Colt is the Jagged Stone nonsense all over again. They're introducing a very serious issue that would dramatically affect the psyche of most people and then acting like it's no big deal. I think I saw someone say that Colt was only introduced to shut up the people calling Gabriel and Emilie abusive by showing us "real" child abuse as if abuse was an Olympic sport and you need to qualify for the team. I'd buy that theory, but I wouldn't bet money on it.

Even if I'm wrong and they are going to explore Felix's trauma, I still think it's a bad move. There's a thing called compassion fatigue. It's commonly experienced by health care workers who deal with traumatic cases day in and day out, resulting in thing like the inability to feel compassion for your patients because your compassion meter has been rung dry. You can experience a lesser form of this just from watching the news. Story after story of people in need to the point that you're desensitization to these events evoking horror or sorrow.

When you're telling a story, you need to keep this phenomena in mind and be very careful when introducing multiple sources of trauma. The more trauma you introduce and the quicker you introduce it, the less impactful that trauma will be for your readers. If you're a good writer, then it will also be less impactful for your characters. Allow me to explain with a quick example.

I had a brief Marvel phase and, while I never wrote anything for that fandom, I made up a few stories in my head. A lot of them revolved around my favorite character, Tony Stark (aka Iron Man). Tony becomes Iron Man after being kidnapped by terrorists and I love confessions of traumatic backstories, so I was working out how to do one for him and the Avengers to help bond the team. Then I realized that his teammates are all orphans and that the majority of them were raised in poverty. Most of them have also gone through scientific experimentation of some sort and not all of it was voluntary. In other words, in the world of the Avengers, Tony's trauma isn't really special. His team might sympathize with him, but they wouldn't be deeply impacted by his story the way I wanted them to be because most of them have gone through equal or worse trauma.

Circling back to Miraculous: they keep heaping trauma on these kids and it's a terrible move. When Adrien was the only character with a messed up home life, things were interesting.

Now? Well, this is the current list of characters with a messed up home life: Kagami, Zoe, Chloe, Adrien, Felix, Luka, Juleka, and probably Lila. Add in Rose's serious illness, Mylene's mother abandoning her, and Marinette's traumatic past dealing with a straight up hate campaign on top of all the trauma introduced over the course of canon and I just don't care anymore. I am drained dry. They have introduced way too many serious elements without exploring any of them in depth and that is a massive writing faux pas.

Generally speaking, when telling stories, you should default your characters to whatever a happy home life is in their universe unless you're going to do something with the non-happy home life. Non-happy home lives complicate stories and you don't want to introduce a complication if you're never going to explore it. This is why I think that Colt should have been at least a decent parent. It's also why you'll see me say that Emilie should be at least a semi decent parent even though canon has made that option impossible unless you ignore a lot of the unpleasant implications found in Adrien's backstory.

While I love evil villain couples, Emilie is in a coma, so she can't be Gabriel's co-conspirator and I personally have no interest in her waking up to start a new villain arc. When she wakes up (or finally dies), the Agreste's story is over and so she basically has to be nonthreatening for that ending to work. It also circles back to the issue of keeping the trauma tight and focused so that the trauma you do include really pops!

Reminder that the above is a discussion of story telling, not a commentary on what makes real people interesting or the commonality of home life issues. There's also nuance I didn't get into because this was already really long. Writing trauma well is a really fascinating and complex topic.

[likeabxrdinflight]

You know something else the live action atla has the chance to address? Iroh.

I don't necessarily mean some of the common complaints I often see- I don't think they'll address his relationship with Azula nor do I think it's likely they'll give us much more if any of his backstory. But what I do think they can- and should- address is the discrepancy between animated season one and seasons two and three Iroh.

Because I've always felt they're fairly different characters in some ways. Zuko's redemption arc was set up pretty early in the show's run, I'd argue as early as episode three when Zhao was introduced. So Iroh had to be likeable from the jump too, and broadly speaking, he was. Season one Iroh has many of the traits that make him a well-loved character throughout the show's run- his goofy humor, the endless proverbs, and he's the embodiment of the "wise caring mentor" archetype.

What's not set up in season one, however, is the White Lotus, or Iroh's role in it. At no point in season one does Iroh appear to be anything other than a Fire Nation nationalist. He shows no signs of disloyalty to the Fire Nation or its imperialist goals and does not ever appear to be nudging Zuko away from those ideals. None of those character traits appear until season two. He is supportive of Zuko, he tries to encourage Zuko to show empathy and concern for others, to be less-hot-headed and impulsive, but at no point does he ever seriously discourage Zuko from seeking out the Avatar (unless there is a direct safety concern, as in Winter Solstice and The Storm). At best he simply stands by and allows Zuko to do whatever it is he's going to do, and at worst, he's actively supporting that goal. Iroh's far from a bystander to Zuko's more villainous actions in season one, and none of this is consistent with the way he's characterized in season two and beyond as someone actively opposed to the war who wants Zuko to give up his hunt for Aang.

There's a million metas and arguments and headcanons out there that try to explain this discrepancy in characterization. Some are even genuinely compelling and make sense with the canon. But at the end of the day, all that is fanon. I just don't think the writers did a good job showing how Iroh gets from point A to point B, and they actively failed in setting up the existence and importance of the White Lotus.

The live action series has an opportunity to correct this. They could foreshadow the White Lotus sooner. They could show us the White Lotus sooner. They could also cut the White Lotus altogether. They could make subtle changes to Iroh's character or add scenes that indicate whether or not he was always trying to steer Zuko down this path or if he has some significant change of heart at the Northern Water Tribe. They could do something with his character that the animated show didn't, show his own growth and development if indeed he has any at all. And I think it's arguably one of the more important things the live action show ought to be doing, because it's one of the few major storytelling failures of the animated one.

[the-badger-mole]

Aang has to be one of the least popular protagonist I have seen on ao3. Out of all the main characters who appeared in season 1 and beyond (aamg, Katara, Sokka, and Zuko) aang has the least stories. I have never seen that happen to a main character before. Aang has like 13,000 stories and he is a side character in a majority, so it makes me think, why do so many people argue aang is such a great main character when he seems to be the least liked even by his fans.

This isn't me trying to do some popularity contest, it just seems like even fanfic writers can't do anything interesting with his character, which is sad because he has a lot of potential to be an amazing character.

Child who lost everyone he has ever known to war and time, waking up a hundred years later with the weight of this new world on his shoulders while still grieving his previous life, is such an interesting character, and the show did nothing with that and so neither did the fans.

You know what show did that premise justice? Futurama.

I think Aang's lack of attention comes down to him being ultimately a boring character. Yes, the premise of Aang had potential, but then Bryke turned him into a Gary Stu. And not even a particularly good Gary Stu. I think the lack of fics centering Aang have few explanations. Making Aang a more interesting character would take a lot of work. A lot more than people who aren't his biggest fans are probably willing to put in. It's easier to treat him like a side character, because frankly, that's what he should have been.

Second, fans who do like Aang- like his canon story and his canon ship- probably don't have a ton to add. I think that's not uncommon with a lot of canon ships. Most of my ships have been canon and although I have written for those shows, I'm a lot more prolific with Zutara- my one non-canon ship. I sincerely doubt I'd still be this invested if Zutara were canon. I'd still love them, but the same way I love Usa/Mamo. Content to just let the story be what it is, for the most part, unless inspiration strikes.

I also imagine some of it has to do with not wanting to admit how awful the canon made him seemingly by accident. In order to make an interesting story about Aang, they'd have to add some conflict, and no die hard Aang fans seem to be anymore willing to do that than Bryke were. Take that with a grain of salt, though. This is just my opinion. I don't spend a bunch of time reading Aang fics.

Third, the lack of Aang centered fics may actually be based on his popularity. I don't know. I think there are way fewer Aang fans than there seems to be, it's just that the main Aang fans are so loud. I wouldn't be surprised. After all, he's the most boring of the main cast, his tragic backstory notwithstanding. I only know two or three Aang/Kataang fans in real life, and they are very, very casual fans. Most of the other ATLA fans I know prefer other characters/ ship Zutara. Obviously, online Aang isn't the most popular character either. Oh, sure, there are plenty of polls that put him/his canon ship at the top, but if you look at the actual fan content...well, you can see for yourself.

[facewithoutheart]

Ten Questions for Writers

Thanks for the tags @shrekgogurt, @artsyunderstudy, @youarenevertooold, & @roomwithanopenfire I’m enjoying all this navel-gazing a whole bunch actually & I’ve done this before but it’s been awhile… sooo

1. How many works do you have on AO3? 169 (niiiice)

2. What’s your total AO3 word count? ~950k (yikes) although some of that is Birthday Man and collabs with people from WIP fest. Don’t ask me to do the math tho; that’s mean.

3. What fandoms do you write for? I’ve written for HP, Check Please, and RWRB although right now I’m mostly a CO writer with a toe dipping into 9-1-1. I have one Captain America fic posted and some WIPs I don’t know if I’ll finish. Nobody look at that AFTG fic; it’s pure crack.

4. Do you respond to comments? Why or why not? Whoo boy do I have thoughts here. I want to be the kind of writer who replies to comments and I harbor so much guilt that I’m not; I know I miss out on opportunities to connect with readers, and I genuinely appreciate comments so much; I hoard them in my inbox like a greedy lil affirmation dragon. I write to engage and connect. So, like, I know I should but at the same time I hate forcing interactions. I like them to spawn organically. I keep my circle small because I get really emotionally overwhelmed and then I feel guilty when I can’t give people what they deserve. And I’ve also never been comfortable with compliments or gratitude, I don’t trust them. So here’s a bulk of emotional trauma no one asked for to say: I don’t reply to comments as often as I feel I should and I’m trying to release the guilt I feel about this while also recognizing that not commenting probably has a direct negative affect on my ability to meet my goal of connecting through writing and at the same time my mental health probably couldn’t withstand the pressure I would need to place on it to get to where I’m replying to comments regularly. Hi I’m a mess who’s trying to love herself and often falls short of that goal; aren’t we all?

5. Have you ever had a fic stolen? No.

6. Have you ever co-written a fic before? So many actually! I didn’t think I’d ever get to a place where I trust someone else to the level this would take but I’ve been really lucky to work with some amazing writers even if not all of those works went anywhere. I actually don’t even think I could realistically tag all the people I’ve collabed with bc I’m afraid I’ll miss someone and isn’t that amazing? Personal growth; we love to see her.

7. What’s your all-time favorite ship? Oh man. I want to just be lame and say it’s me and Mr. Face 🤣 I shipped us when no one else did. Um! Snowbaz is always going to have a special place in my heart, but I’m really leaning into Buddie right now because of age and wanting to explore people in their 30’s still figuring out their lives while battling PTSD and late-in-life sexuality realizations. For, um. Reasons.

8. What are your writing strengths? I do like my dialogue a lot; dialogue is often where I start my scenes and I develop from there. I think I’ve done a good job of honing my ability to vary action/dialogue/internality a lot. I also think I keep people engaged or maybe I just keep myself engaged which is good enough for me. Sometimes I’m funny although sadly not as much recently.

9. What are your writing weaknesses? I struggle with remembering to add in physical descriptors. (Like oh shit have I ever mentioned this character has eyes?) Logistics are a frequent source of pain. (Wait, where were their hands?) I think my plots are kind of basic and boring; I don’t come up with really vivid and detailed concepts. I use the wrong words for things. I really hate detailing out backstory. I have to reread my fics a million times to maintain character consistency. Etc.

10. First fandom you wrote for? Hey Arnold. I wish I could find those fics; I bet they suck.

Tagging 10 peeps @sillyunicorn @mostlymaudlin @martsonmars @bookish-bogwitch @cutestkilla @ivelovedhimthroughworse @thewholelemon @palimpsessed @aristocratic-otter & @you-remind-me-of-the-babe

[davekat-sucks]

(Found this image on Twitter)

I really don't like the Omega kids. I take them as seriously as I take the alphasprites, they don't exist to me. Hearing you guys talk about these little mistakes feels like watching everyone talk about a hypothetical scenario or dream some guy had once... which is the Homestuck experience now.

I dislike them, but it's not just because their stories stem from terrible couples, it's because they're so over designed but there is no meaning to anything.

It's cute Tavros has a bow tie and that Harry has a bandana but those feel like little trinkets that should have been added on later after we get used to seeing them. Show me their personalities first before you overload a character with this much clothing. Yiffy is the worst of these. It's too much. For some reason Eridan feels like a simpler design than this avril lavigne clone. There is something less cohesive and more busy about these designs than the original cast. Maybe it's because it has too many different grays and blacks. She looks more like a vast error character than a Homestuck one.

Look at how simple the character designs start out as, and then they purposely make their own outfits that fit their interests and personalities. Dirk may be a bit of an exception here actually, he changes his clothes right after he is introduced. Which introduces him as anal.

There is meaning here. There is a purpose that the story shares throughout it's run. Look at Rose's dress it was made from the velvet pillow introduced when her mom one-upped her and Roxy's outfit here clearly being a reference to her mom's love of knitting. There is a reason Jade wears blue and John wears green even though that isn't their colors. Dave's shades are a gift from John. John is wearing a bootlegged slimer shirt. I'm not saying the Omega kids need every article of clothing to have a backstory, but if they wear this much clothing it doesn't tell me much.

Why does Yiffy wear cleats if she was hidden away from the world? Did she run around in a backyard like a dog or something? I don't even remember if that is her story or not, I forgot so much about her because I was more focused on how she was a child that Rose had behind her wife's back. They're overloaded with drama too.

To add to that. I haven't placed much thought in it but I don't know what the Omega kids color scheme is supposed to be. I assume the Beta kids colors come from basic web colors. If you invert the beta kid's colors you get the Alpha kids color scheme.

The Omega kids just feel scattered and unorganized. It makes them feel even more meaningless because they don't fit in. If that is the point then why not have five kids to really fuck with the system here? The writers should have really ran with the whole "we're flipping the script and subverting expectations" thing.

I also don't give a shit if this is nitpicky, I'm sure you guys can all see there is something off about the omega kids.

I agree about the accessories doesn't really show they are connected with the Beta Kid adults. If the bandana is suppose to be like a replacement to how Roxy wears a scarf, then let the boy wear a scarf and not a stupid gay bandana. You think that Kanaya, who is a fashionista herself, would be critical of what her daughter, Vrissy wears. And if you are saying she would never reprimand her daughter because she looks like her crush, then that brings up a worse implication that she really is grooming her to be like Vriska by enabling her bad habits. What confuses me is Tavvy's overshirt has the matching color of Gamzee, the one who MOLESTED HIM. You think after his death, he would never wear that color and be disgusted by any shade of purple that's within his sight. Unless him still wearing that purple vest now is still symbolizing he is still bound by Gamzee or can't move on after what he did to him.

But yeah, nothing about the Omega Kids designs makes sense. And I still am on the side that laughs at Yiffany looking more like Nostalgia Critic.

[empire-of-the-words]

I'm 10 and a half episodes into Young Justice (the TV show), and I feel like I should record my feelings for posterity's sake, so here we go (under the cut because it got too long 😅)

(Also I will be using superhero names for the most part since I don't want to look up how to spell Miss Martian or Aqualad's name)

Spoilers: I already know the Red Arrow thing. I'm also pretty confident I know Artemis's backstory. This doesn't bug me, because I love storytelling. A lot. So I keep looking at it from the writers' POV and it's honestly very fun. I also know a piece of Miss Martian's backstop, and the same as above applies

Investment in the characters: Honestly the show is doing a great job at this. So far it's had an episode focusing mainly on every character except Robin (who I'll talk about in a sec). The show is doing a lot of one episode character arcs (which is a great way to get you invested in the characters). Superboy and Superman both have obvious season character arcs going on, but the others have enough stuff that I'm confident they can do stuff with them

Robin: He is so competent in this, and I love it. Him being too competent to lead the team is both funny and adds another layer to both him and Aqualad. He actually hasn't had an episode really focused on him yet, just side plots. But this kind of works, since everyone knows Robin and there's less of a need to make sure people like him. (And this works. I didn't need to get as invested in Dick and Roy (and Bruce and Clark) since I'm already invested in their comic versions)

I also love that he hasn't revealed his identity yet. The little things about it (like in that episode the League of Shadows was trying to hack Wayne Enterprises). Especially with Artemis heading to Gotham Academy, I'm really hoping she has some fun interactions with Dick

Ships: Miss Martian/Superboy is pretty cute. I passively ship it. Just hoping they have real relationships with other members of the team. Kid Flash/Artemis (does she have a hero name?) is a bit more interesting. The amnesia episode did a good job selling it to me, as it shows they don’t necessarily hate each other at a basic level. Also I hate Kid Flash's crush on Miss Martian (or at least how he acts because of it), and rooting for another ship is the same as rooting for it to die. No real love triangle stuff for now, and hoping it stays that way. There's also the ship getting its own category:

JadeRoy: Starting very different from the comics (where they basically started as Enemy Lovers), but, uh, I Don't Care. I love this ship, both in comics and here. They're entirely enemies right now, but they've started to attach extra emotions to each other (not good ones, don't get me wrong, but they're singling each other out). And I know Lian will exist in this universe (thanks dc wiki), so I'm happily excited for Slow Burn (with the back of my mind preparing for disappointment, just in case). Not sure if this is going Enemies to Enemy Lovers or just straight up Enemies to Lovers (since it's a kids show they might give them a happy ending) but either way I'm down for it

(I'm actually horrible at watching shows in their entirety (instead of dropping them after a few episodes) , and the way I actually got myself to push forward and get invested was the knowledge that Cheshire appears in episode 6, and I really wanted to see her)

I'm super invested in the Superman/Superboy plotline. Also, Martian Manhunter giving Connor the last name Kent was just hilarious. The whole League is just like, "you will parent this kid, clark" and I love it. It's also got me thinking about how comic writers indirectly said Bruce wouldn't be great in this situation despite this version of him pushing for it, but that's an essay for another time (possibly never since it might involve reading Morrison!Talia which I desperately do not want to do 😭)

Speaking of Talia. I am dreading it. I know Damian’s just a cameo and it's a kids show, so it can't get as bad as the DCAU (knock on wood), but this is 2011. This is peak Morrison!Talia, and I do not want to see my favorite character's characterization get spit on

Moving on the nicer things, Batman is Peak Batman. He is a dad, and he’s trying his best, and they better not ruin him

The Light: I guess it makes sense that all these secret organizations are secretly all 1 secret organization, but I'm not quite invested yet. Also finding it hard to believe Ra's al Ghul would join an organization where he's not in charge

Also! I have figured out the usual formula. They start the episode with both a mission usually, and give one character a personal conflict. Things get to their worst at about the 16 minute mark, resolve at about 20/21 minutes, have a final scene with the team and a final final scene reveal the bad guys were actually part of the Light conspiracy thing. Honestly it's kind of comforting having a formula

Overall, pretty good. Can't say how quickly I'll watch it, or how often I'll post about it, but I'm going to keep watching it, which is pretty good, particularly for a kids show

Also if someone's reading this and really curious about what I think about something specific, feel free to send an ask, it'll be fun :)

[absolutebl]

Hi! Why do so many BLs have one character meet the other when they were a child and love them since then…. I’m watching History 5 and the second couple has this trope with the older one loving the child but loads of them have a child ‘loving’ the older guy for years (Minato, second couple in History 4, lovely writer)

Is this a common trope in non-BL Asian dramas? Maybe I’m missing some cultural aspect but it makes me feel a bit weird… I’m fine when they both meet as children but when one’s a child and one’s an adult it feels off to me!

We Met As Kids, Therefore I Love You

Yes, it's a super common trope in ALL Asian romances.

There's a human cross-cultural claim-to-care around having met someone "first" giving one person priority to another's affection and in their life.

For example, think about how many fans (of say a Kpop group or band or actor) will claim to be "better" or morally superior to other fans of that same talent, because they have have liked that group/person "since the beginning" or "before they were famous." How about those who claim superiority because they read the book before the TV series became popular?

To have loved something FIRST is often allied with being better at loving it, there is a value judgement to longevity of association. (This is also true around disliking someone/something first.)

There isn't a name for this logical fallacy, although there should be. I would say something like appeal to tradition argumentum ad antiquitatem (which is a red herring fallacy). So appeal to time, argumentum ad tempus?

(The 8th Sense is doing some VERY interesting things to philosophically battle this concept right NOW, actually.)

Narratively speaking, if you have only a short amount of time to unfold the story (for example We Best Love) this trope gives writers a quick way to justify pining and affection (usually from the seme character). So backstory can be cribbed for character development. That character is already in love, so we don't have to show him falling in love, only one character is in play for that.

In longer narratives (like Word of Honor, Lovely Writer) this is a secret that gets to be slowly uncovered and explored as a plot point. If you have them meet as children, or when one is a child then it justifies one character not remembering the other (because peoples appearances change from childhood to adulthood).

I think the popularity in Asian dramas in particular has to do with collectivist cultures and family obligation/intimacy priority. To have known (or met) someone as a kid adds a level of intimate connection that justifies any affection that much more than meeting later in life.

There's a very funny scene in Kdrama (noona romance) Thumping Spike (recommended) that directly mocks this trope. Near the end the main couple openly together and they are in the car with the (former) love triangle dude. He lost, even though he's the one with the childhood crush. He directly combats this concept by saying (basically): If longevity guaranteed romance, I should be married to the grandma who runs my local convenience store.

Another well known Kdrama that combats this trope is Strong Woman Do Bong Soon (recommended) which goes out of its way to have the love triangle character who would normally lose the girl, actual win her this time. (So the one who loses is the moot crush from childhood.)

In BL, I tracked this one for a while:

Also here are a few BLs that DO NOT use this trope:

(source)