#and it's totally the beginning of her villain arc

[justsumtransdude2000]

QuillKiller's Easy Beginnings

I know that a lot of people enjoy the internalized homophobia narrative in relation to relationships involving DE's and purebloods, and I often enjoy it too, when done correctly. However, QuillKiller is one of the instances where I think, characterization wise, it simply doesn't work. Specifically, I'm thinking when the internalized homophobia narrative is pushed onto Bellatrix.

Why? Well, what do we know about Bellatrix? She is dangerous, clinically insane, murderous and undyingly loyal to whatever she applies herself to, and canonically that thing is the dark lord, yes, but what else? She is self assured. When she battles people she taunts them because she is sure she'll beat them, when she argues she does it sardonically and with the very distinct air of I'm right, you're wrong, fuck off and die before I crucio you. Everything she does is with a sense of superiority and self respect. She knows who she is, and she wouldn't brush that off (especially in her teenage years, because Bellatrix as a teenager was a spitfire and a rebel in one way or another) to replace it with being who she needs to be.

So, when she realizes she's gay she doesn't think, she knows. She isn't afraid of it, or angry at it, guilt doesn't eat her alive about it, she doesn't dread not being the perfect daughter about it, because she's Bellatrix fucking Black, when has she ever been the perfect daughter, and when has trying to ever been fun? But this, her queerness and being able to weaponize it to piss off her family? That's fun. Bellatrix takes everything about herself and sharpens it until it's the perfect thing to ruin people with, especially when she is filled with teenage rebellion and hate.

Enter stage left Rita Skeeter, the openly lesbian trans girl (because fuck Terf-k Rowling, Rita deserves to be queer and trans and she is beautiful because of it) who is in everybody's business and runs a gossip column for Hogwarts. I imagine it starts 3rd year. Bellatrix has discovered this powerful, sharp thing about herself, and there is someone just as self actualized as her. Rita knows who she is, knows how to prove that to people. She runs smear campaigns against people who are transphobic towards her, and occasionally gets in trouble for hexing students who say nasty things, and she is a bit dangerous because of her abilities and Bellatrix loves it. She loves how being close with Rita is this game, loves how she walks a narrow tight rope of being loves and being smeared, loves the adrenaline rush it gives her (because she is so adrenaline junky coded).

And that love for all that Rita Skeeter is turns into love for her in 5th year.

And Rita Skeeter is intrigued by Bellatrix. By her ideology, the way she thinks and acts and is quick witted. The way she defends her so easily, the way curses flow from her wand with ease that Rita can tell is actually years of training and practicing (she ignores the thoughts about who she has had to practice on). And maybe it starts out as a story, but it turns into something else. It turns into this weird feeling in her hears, and sneaking into Bella's dorm, and learning what she likes to eat for breakfast, and wearing each other's ties on purpose and smearing transphobes together, and feelings.

And it's quite easy for them to fall in love.

[verosikastrikerstellaexcuser]

So I am honestly stupidly heated at this whole pride thing.

I don't like that 2 of the only het characters are Striker and Stella all because they are mean to the wrong main character (Stolas). Like, its so transparent. Mammon despite abusing Fizz gets to be there. Chaz is a dead villain but gets to be there. Wally doesn't appear to be LGBT from what I can see?? But, yk, as a pet fave he gets to be there still even if straight.

"[Do you think Stella] would come anywhere near a pride parade" Well, yeah because her pointless misogynist fuckass brothers gay and from what we've seen she still works with him quite willingly? Like huh? And don't even get me started on Striker, I made a separate post ranting but how in the hell was this scene heterosexual in any way. Striker specifically is the one to initiate this scene as well.

Andrealphus is also here too. Instead of us getting say Lesbian Stella, bi Stella, aro Stella, no, we get him. It feels more and more like an excuse to replace and erase Stella's place in the story; Viv didn't like that people liked Stella too much because Stella is one of her non favorites and supposed to be a mean-to-Stolas Stolitz drama plot device, so she made a totally cooler better gay male bird instead. He's gay and cunty~ so hes better because female homosexuality is so less interesting and fun. Andrealphus gay male bird is still a piece of shit morally but he gets to be there and be LGBT. He also gets to be the brains behind the whole operation to fuck Stolas over, hes the actual fun antagonist being evil with style and swagger. While Stella went from in S1 being a ruthless hyper aggressive woman pushed to her breaking point working to kill her husband to now in S2 a tool controlled by Andrealphus while being demeaned and told her only use is her looks. And ykw else? I saw someone twitter point out something interesting.

The HB store has sold an awful lot of sexualized merch of Stella, all the pinups etc. And... man. Yeah, it begins to paint a horrible picture. I know they do a lot of sexualized merch of other characters, but those characters have also gotten to be characters and not just plot devices for men. While Stella has been sidelined for another male attracted male character instead of explored. All the men in her life have used her for her body, her looks, her being female, as a baby factory and a wife, shes been unpersoned by them. And then, the merch fucking reinforces this by heavily sexualizing her. They'll sell sexualized merch to Stella fans. But they won't flesh out her character, they won't make her lesbian or ace fans happy by making her rep, nah, none of that.

I'm sorry but this is just not how you write a victim of an arranged marriage made to have a baby with a man who couldn't stand to look at her as she did it by her parents and brother!? And before anyone comes at me, again, if Mammon and Andrelphus get to be a celebrated LGBT character why the fuck does Stella not? If Wally gets to be here despite not being LGBT why doesn't Stella? Why did Stella never get to have her childhood and past explored, her relationship with Octavia explored, anything? Why is her interest in others/sexuality never really shown outside of not being into Stolas? Why do we never even get maybe a fun arc in which she realizes shes so angry because shes aro and romance repulsed? Or shes a lesbian and craves a relationship with a woman? Or loves another man but didn't cheat then Stolas did so she lost it? Something? Anything? Anything at fucking all? Oh. Right. No. Shes just a token straight woman who exists to be a body to be used and drama for Stolas and Stolitz's story. Why would they give her an LGBT identity? Those only exist to be tacked onto nice or cool female characters that bully characters its ok to bully like Blitz and Moxxie - all of these pan female characters consistently only ever really show male attraction anyway, to boot. Because gay is only fun and cool when its male!!!!111

[immaturityofthomasastruc]

EVEN MORE SPOILERS FOR SEASON 6

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

These writers are sexist.

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

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

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

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

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

For the love of--STOP SAYING THAT!

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

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

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

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

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

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

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

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

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

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

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

Can you imagine a world without the Love Square?

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

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

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

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

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

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

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

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

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

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

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

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

JUST. SAY. NO. COMMENT.

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

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

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

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

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

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

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

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

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

[ghouly-boiiiii]

Does Max give anyone else major twist villain vibes???

Okay I haven't talked about Max much yet, but I think it's kinda wild to see people talking about him like he's just this sweet innocent cinnamon roll when my read on his character was the COMPLETE opposite.

I mean yes, he does seem very sweet. He's very soft spoken. Naive in a way like Lucy, but not as much. Kinda vulnerable. Got a killer smile. And some of the moments with him and Lucy are super cute and adorable. But damn if he doesn't have a DARK side!

Like I've heard people say that Max is stupid or that Aaron Moten's acting is bad, but hell no. Aaron Moten sold me on his acting during the interrogation scene. Max was scared shitless and I FELT that. I think Max was meant to be played as a character who lacks understanding about certain things and seems disconnected from people due to both being brought up in basically a cult and having an inherent lack of empathy.

You think about the fact that he admitted he wanted Dane to get hurt, someone who's supposed to be his best friend. How he coldly sat there and watched Titus die. And before that stood there and watched him get mauled by a bear, almost like he was fascinated by it and wanted to see what was gonna happen. The fact that he tried to kill Thaddeus the moment he became a threat, even though the two of them had appeared to have bonded and developed a genuine friendship. And let's not forget he was willing to let all of Vault 4 get plunged into darkness just so he could keep playing with his power armor.

Max wants to be a knight, he wants to be a hero. And I think he tells himself he wants it for the right reasons, but I think what he REALLY wants is power and recognition. Which is really what every (okay maybe not every, but a lot) good villain wants, right? Because at the end of the day Max wants what Max wants. He's selfish, even though he doesn't think he is.

And sure, he's nice to Lucy. And he went balls to the wall to save her when he thought Vault 4 was gonna execute her. But she's a pretty girl who helped him and offered him a safe home. When she gave him the proposition that if she helped him bring back the head, he would have the Brotherhood lend her some knights to save her dad, he KNEW he couldn't make that promise. But he made the deal anyway. So he doesn't REALLY care about her or what she wants.

And that blank stare he gets when he gets mad? ACTUALLY terrifying. The guy's got serious psychopath vibes. Literal anti-social personality disorder, if you ask me. In fact the first thing I thought about when Max let Titus die is this kids going to end up going to the dark side lol.

And I think that would work really well thematically if they plan on giving The Ghoul a redemption arc beside it. There are so many parallels between Lucy and The Ghoul, and they have such a strong connection to the beginning when the bombs dropped. I get that Max is there to represent the Brotherhood and he's from Shady Sands, the town Hank destroyed, but it felt weird that he didn't seem to be AS important in the grand scheme of things compared to Cooper and Lucy.

But if Max turned out to be a badass twist villain to thematically contrast Cooper's redemption arc, while Lucy remains steadfast to her commitment to goodness and the golden rule I feel like that would really round it out. It would make sense if you consider a lot of people have pointed out that Lucy, Cooper and Max all seem to represent different play styles and different moral alignments. And I think it'd be pretty crazy if the writers of the show set out to make it seem like Ghoul is a bad guy and Max is a good guy, but then it ended up being the opposite.

I mean, there are definitely hints all over the show that The Ghoul isn't as bad as he may seem. And Max has already done some pretty messed up stuff, so I'd say the possibility is totally there, and I'd be here for it!

Who's with me???

[jessicas-pi]

I just came up with a hc that makes the sequel trilogy 200x funnier.

What if Rey and Finn are both students at Luke's academy and the whole sequel trilogy is just Rey, age 8, making up a crazy wild fantastic adventure story to tell to her bestie Finn, age 9, while they're being watched by Poe, age 12, (who is visiting the Jedi academy because his mom is friends with Leia) and Ben, age 11?

Hear me out.

ST!Rey is a desert orphan because lil Rey WAS a desert orphan before Luke found her. The reason Rey learns to be a Jedi so quickly in the ST is because lil Rey is telling a cool story about herself!

Finn is a stormtrooper, because once he met Captain Rex and thought he was really cool and he wants to have white armor too, so Rey makes him a Stormtrooper who turns good and rescues Poe.

Poe jumps in on Rey's story at the beginning to wax poetic about himself being the best pilot in the galaxy, and Rey tries to one-up him by making her story-self fly the Milennium Falcon through a star destroyer.

Ben keeps hijaking her story to try to kill off everyone so he can leave, so he's obviously the villain. Rey keeps trying to make him have a redemption arc to no avail. At the very end he just gives up, says "okay FINE i turn GOOD and help you save the day BUT THEN I DIE", and he leaves.

Luke is a grumpy island hermit in the ST because lil Rey is annoyed with him because he wouldn't teach her to try to float an X-wing (something totally out of her skill level) and so she's like "and then i went to the ISLAND and met LUKE and he wouldn't teach me AAAAANYTHING!"

Poe makes up the scene where Han gets stabbed because when Ben was 2 he accidentally stabbed his dad with a fork and Poe thinks it's hilarious to keep bringing it up.

Rose is a friend of theirs who visits for just long enough to get Rey to throw a gratuitous space-horse subplot into the plot of TLJ cause Rose is a space-horse-girl, but then she has to leave so Rey writes her out of the plot of TRoS.

Anything else that doesn't make sense about the ST is just because it's a story told by an 8 year old girl who's here for a good time and doesn't really care if it's realistic, because it's fun and that's more important.

[tumblingxelian]

The "real" Batman

I see people complain about the emphasis some people put on Batmans more negative character traits a lot.

"That's not the real Batman, that's flanderiztion, fanon, a few bad but popular adaptions, the 90's only" and the like are common refrains and it really gets to me. Cos see, while I am aware no incarnation of Batman is totally one note, I emphasize the more negative sides of Batman for reasons that aren't "Edgy, badass, GRRR, Toxic masculinity woooh" bullshit and I hate being dismissed as such.

So, here's why I do it:

First is because of general frustration at the dismissal of any incarnation of Batman, regardless of popularity, or ongoing presence in the main-line comics and timelines, being invalid. IE, the "HE's not the real Batman so he doesn't count" when he canonically is, & as done stuff like that.

60s/80s Batman smiles after sending a purse snatcher away in an Ambulance, kidnaps & others relies on torture style interrogations. Just like 90s/2000's Batman threatens people with assault in prison & looms over a Mugger he slammed so hard into a wall it left a giant blood splatter.

It is fair to ague that brutality is not all of what he is, that's valid. But that side of him is not something I feel one can just handwaved away as "not canon" & people doing so frustrate me in large part because it feels intellectually dishonest. Its refusing to engage with a metric ton of the canonical lore of a character they are discussing.

Secondly is the fact that a lot of the lore, history, character development, derailment, treatment, tone, framing and more for characters OTHER than Batman relies on him having a history of problematic behavior.

Cassandra basically living in a Bat-Cave with no civilian life or identity because Bruce is giving her what HE wants for himself even though its bad for both of them is just an example of a huge part of their dynamic. One that can be deeply damaging, self destructive and messy, but also makes perfect sense given the characters involved.

How Jason's entire shift in character and framing was done largely to insulate Bruce from criticism over his death, IE, Jason being characterized post death as violent, arrogant, not particularly bright and then coming back as a villain also ties into 20 something years of smearing his name to protect Bruce's.

Stephanie's entire character history begins falling apart if Batman doesn't treat her like the trash he did in canonical mainline comics, and leaves her with only a couple of borderline cameos at best. Hell, even 'new' stuff where he's "nicer" still has him do things like fake therapy appointments to trick her.

Hell, even Dick in a lot of incarnations as well as mainline comics at different times has a lot of issues that came from being raised/trained by Bruce. No, it isn't universal, but it is far too common & recurring of an element to just say "doesn't count!" & declare the discussion over.

& the thing is, when people say they want the "Real" batman or the "Good" Batman, they not only erase these characters histories. They don't replace it with anything worthwhile for anyone but Bruce himself.

If ignoring all that meant replacing it with stuff like Jason never died & or never became Red Hood & is a totally different character. Or Cassandra and Bruce having arcs about their obsessions with vigilantism at the expense of their personal lives, or Stephanie actually getting to be ROBIN. Then it would be something at least somewhat interesting to engage with. But they don't, instead Jason still became a supervillain & is the Red Hood, Stephanie still got fired if she was Robin at all.

They are either forgotten (Cass & Steph) or end up being warped (Jason) so their characters history, everything is different and all to better serve making Bruce look good. I really find it vexing that even in "Batman is not a jerk" stuff, he still warps the narrative to everyone else's detriments.

[the-ginger-avenger]

My main gripe about how Ted Lasso handled Jamie and James’s relationship in the second and third season is that, in a way, it contradicts Jamie’s arc from the first season. And I LOVE Jamie’s arc from the first season. I love how sweet Jamie became later in the show, but if I have to pick a Jamie, it would be season one Jamie, hands down. Even with him being an egotistical jerk. Even with him pushing back against everyone who tried to help him. Because that progression he had from the beginning to the end of that season was the most heartfelt, emotionally gut-punching arc for me. And then they ruin it.

Because what is Jamie thanking James for in Mom City? For pushing him to be a better player? Even if you ignore Jamie literally saying in the bonfire episode that his mother is the reason he works so hard, the whole point of his arc in season one was that, while he was a good player, he wasn’t as good as he could be BECAUSE HE WAS THE PLAYER HIS FATHER PUSHED HIM TO BE. Listening to his father, making it all about HIM, acting like he was the only good player on the team, was actually holding him back.  And even in the second season, when Jamie talks to Ted about how James keeps pushing him, it’s about the wrong things: how long he plays, how long he sits on the bench, how many times he scores. Every single thing that goes against what Ted was trying to teach Jamie in the first season. So what is he thanking James for? Why did they have Ted go from trying to get Jamie to stop acting the way James wanted him to act, to telling Jamie that a lot of famous people’s dads were “real pieces of work” as if that was the reason they ended up working so hard or became great (can you imagine if, instead of telling Rebecca that she’s not the only one who could see who Rupert actually was, Ted told her that a lot of strong, independent woman had ex-husbands who were “real pieces of work”? It’s infuriatingly dismissive)? And if he’s thanking James for pushing him to be a better player, then he’s thanking James for pushing him to be the player he was in the first season, which they spent at least eight episodes trying to get Jamie to not be that way??

And I honestly don’t think the writers really knew why he was thanking James. You can compare Jamie’s speech in Mom City with Ted’s speech to his mom. Ted clearly lists out what he’s thanking his mother for and what he’s angry with her about. Which works out great because the audience has never met Dottie before. The show only gave bits and pieces about what she was like, or what her relationship with Ted was like, so they had Ted clearly state why so the audience could understand better.

But not Jamie. He doesn’t have to state why he’s angry with his father because the show went to great lengths to show why. Nothing good or redeeming was mentioned about James once in the entire show. That character had maybe a grand total of ten minutes screen time, during which he threw a shoe at his son, screamed at him, got angry when his son wouldn’t let him and his buddies on the pitch, acted like he was going to hit Jamie, and BEAT UP BEARD. So, no, Jamie didn’t have to explain why he was angry. But then he says “thank you” and doesn’t offer any explanation. The show didn’t even give the audience any reason why Jamie should be thanking his dad. Unless, it’s somehow for pushing him. Which again, goes against his arc in the first season, and, in way, makes that whole scene feel like it was put in there solely for Ted’s benefit.

And they could have developed Jamie and James’s relationship more in the third season. Heck, they could have humanized James more, the same why they did with Rupert (who the show actually kept as a villain, who Rebecca let go of her anger towards but was never told to start a relationship with him again. Honestly, the parallels between Rebecca and Jamie’s characters and yet how differently the show handled their arcs makes me go insane but that’s a rant for some other day), but they chose not to which is honestly baffling considering how much screen time Jamie had in the third season. Nothing about his arc should have felt rushed or tossed in at the last minute.

And it’s so opposite from the end of his arc in the first season that it’s like watching two different shows? Because that season one finale? That pass he made at the end of the game? That decision to not listen to his father? That carried so much more weight and so much more character development than that half-baked forgiveness arc.

Because that pass? That was a CHOICE, man. It wasn’t something he did because he was trying to make amends with his teammates. It wasn’t something he did because his current coach was telling him he had to. He passed the ball, he gave up the chance to score the winning goal and the glory that would come from that, even knowing his dad was in the stands, even knowing how angry James would be, because he knew that was the better choice. He knew that made him a better player. (It was also a very strategic move. He knew Zoreaux, and every other player on Richmond, would never even consider that Jamie would pass the ball. You can even see how Zoreaux was fully focused on Jamie. In way, it’s kinda similar to that decoy play Jamie was so against).

And that moment between Jamie and Ted at the end surpasses any other moment they have because it was actually about Jamie, and everything that followed after (except for bringing Jamie back onto the team in season two) felt like it was more for James’s benefit. But that was Ted reaching out to Jamie, giving him that bit of encouragement and praise that his father should have given him. That was Ted, essentially saying “Hey, your dad is wrong. You did a good job." And it’s a very private moment. It’s not in front of cameras or the press or even in front of other players. Ted himself doesn’t even deliver the note. It’s as far from “mind games” as it possibly could be because the season is already over. Richmond has already lost. It’s a “good job, I’m proud of you, now here’s something my son gave me to protect me that I’m now sharing with you”. It’s something short and simple and quiet from someone who is usually very long-winded and convoluted and loud, and it is so much more sincere because of that and you can see how much that impacted Jamie. 

And wouldn’t it have been more impactful, for both Ted’s arc and Jamie’s arc, if Ted hadn’t told Jamie to forgive James? If Ted had been able to heal enough to take a step back and look at the situation without it getting tangled up in his own trauma and guilt over what happened to his dad? Wouldn't it have been deeper for Ted, who later would learn that yeah, his son might end up leaving him but he still has to try, to have actually seen a situation where a son chooses to not reach out to his father? Wouldn't it have been more profound for Jamie to no longer let his actions be dictated by his anger or his feelings towards his father. He's no longer angry, but he's also no longer striving for his father's approval either. He no longer cares if his father thinks he's weak or not  (kind of like how Rebecca stopped letting her anger and hurt over Rupert control how she reacted, and yet didn't have to start a relationship with him? But again, they paralleled each other and yet they took them in completely different directions). They could have had a moment that had the same amount of emotional weight as that scene in the last season, but no. Apparently we should just forget everything that happened in the first season because James was actually doing his son a favor the entire time.

[linkspooky]

You need to make another one of those "metas written by comparing characters with another show you liked" post about Getou now that you experienced FGO Morgan/Aesc.

Time to compare two characters from two different shows I liked (in this case Jujutsu Kaisen and Fate Grand Order: Cosmos of the Lostbelt 6 Faerie Britian) to illustrate what makes a good corruption / fallen hero arc. Two of the best examples I can think of in recent memory are Geto Suguru, and Morgan le Fay of Faerie Britian. They both have tragic arcs which follow similar beats which I think will illustrate exactly why audiences find these characters so compelling.

Both of these characters have their stories told out of order, appearing as villains first before their backstory is revealed but for the sake of simplicity I'm going in chronological order, the heroes they started as all the way to the villains they ended up being.

Before beginning though, a brief lesson on tragedy. Aristotle's poetics argued tragedy runs on the principal of catharsis. The audience feels for the characters on stage, no matter how terrible their acts may be. He argued in favor of moral ambiguity in its heroes. The tragic hero must neither be a villan or virtuous man, but a "character between these two extremes, ... a man who is not eminently goo and just, yet whose misfortune is brought about not by vice of depravity, but by some error or frailty [Aristotle's Poetics.]

The protagonists of tragedies are still heroes, but their good qualities are twisted against them. A tumblr post I see going around from time to time makes the argument that if Othello (the protagonist of Othello) were in Hamlet the story would not be a tragedy because Otello would just stab his uncle and avenge his father. If Hamlet (the protagonist of Hamlet) were in Othello, the story would not be a tragedy because Hamlet who is a characteristic overthinker would probably not fall victim to Iago's manipulations and jump to conclusions the way Othello did. Both of these characters are heroic, Hamlet is a clever and scheming prince, Othello is a talented general a moor who's managed to rise up the ranks in a racist society. However, they are both put into stories where those heroic values are twisted against them by the narrative framework itself. So to make the protagonists of tragedies into villains who were evil all along, ruins the moral ambiguity and therefore the catharsis of a tragedy.

Geto Suguru and Morgan Le Fay are heroes, placed in a narrative framework that twists their own heroic traits against them in ways they can't endure. They fall because of frailty, not because they were inherently evil to begin with. They are antagonists who have the qualities of protagonists, and once were arguably protagonists of the story, which is probably why they have so many fans in the audience despite the fact that they are both of them mass murderers and tyrants.

Now with the long preamble let's look at the stories.

Both characters start as essentially protagonists, and they foil the protagonists they are fighting against during their villain phase. Geto Suguru is a heavy foil for Yuji (we'll talk about this later) and Morgan so heavily foils Castoria because they are both the chosen one.

I'm going to start with Morgan because Fate/Nasuverse lore is a pain to explain. To simplify her story, Morgan Le Fay is from an alternate universe version of Britian. In that Britian everything is ruled by faeries. These are trickster faeries who are total jerks and extremely murderous at times. They were supposed to forge excalibur, but they just didn't do it because they were lazy. This was very bad, so the universe sent a big huge guy to tell them to forge the sword. They were lazy though so instead of listening to him they murdered him in his sleep and he died a horrible death.

The faeries could no longer be forgiven for failing to craft excalibur which is a really important sword that needed to exist, so god or heaven or fate or whoever decided to punish them and sent Aesc who will later be known as Morgan le Fay.

There's some time travel shenanigans but I'm going to skip it because it's confusing. Basically Aesc's job is to wipe out all fairy life and bring an end to their alternate universe, but she decides to defy her destiny instead. The heavens or whoever keep conjuring calamities to wipe out the fairites to punish them for their sins, but instead Aesc fights against them and saves the fairies.

I had a duty to paradise, but I knew that duty would result in Britiain's destruction. This other me, though... She loved Britiain dearly, even the lostbelt version of it. I thought about it, and I realized I wanted the same thing she did. From then on I chose to live as her. (Witch! Witch! Witch! You were the only one to survive the calamity) Countless times, I stopped the calamities. Countless times, I mended clan disputes to end wars. I did not mind. It was not the fairies I loved. I only loved britain itself and the home I would make here. It would be my very own Britian - something that was forever beyond my reach in Proper Human History. I did everything I could to make it a reality. Eventually though, I realized the best way to do that was to keep the faeries safe.

However, because Aesc is not one of them the fairies are generally ungrateful for her saving them again and again. Aesc gathers comrades around her to help ward off these calamities and save people, but she's often attacked by the same fairies she's just saved.

She continues fighting the system of her world again and again, until she's betrayed for the last time in her attempt to save Britan. The final straw is when after years of hard work she's finally brokered a piece and made a king who rules over all the allied fairy tribes, only for his coronation to be ruined, the king to be assassinated along with the entire round table. The king was also her lover, Uther.

Aaah! Aaaah! Why? Why? Why? This was supposed to be the greatest day in fairy history... Everything was supposed to change for the better! BUt they killed Uther! They slaughtered my entire round table like they were trash! They asked the world of us! They thought the world of Uther! BUt now, they've poisoned him...THey were too afraid to even face him cowards. Uther talk to me, please say something! I never let failure stop me! I've kept trying all these thousands of years! Am I doomed to failure here, too! Is it still not enough? Am I not enough? Is it not... Can I not save Britain? Is there no Britain that can be mine! Peace, equality, I never should have tried for either! How dare they! I can never forgive them ever!

You see much like Geto Suguru which I'll later illustrate, Aesc is caught in a cycle where she must continually fight disasters for the faeries to save them only to be met with their continued disdain. Her own higher minded intentions to save the people are what damns her to this painful cycle. If she'd been less heroic, if she didn't care she wouldn't have suffered. She's sacrificing herself over and over again, but sacrificing yourself is in a way just suffering. No one actually wants to walk the thorny path of the martyr, you'll get your feet hurt from all the thorns.

The people who are now accustomed to being saved despite doing none of the work themselves, are by and by completely ungrateful for Aesc's sacrifice. Aesc is a hero, but she's not in a hero's story so she doesn't get any of the benefits of a hero really. She's working with higher minded and more idealistic goals in a deeply cynical world and punished for it. I remind you, she was just there to kill all the faeries and end the world but she tried to save them instead.

It's important to emphasize their good intentions, because a shallower character reading would suggest that they just came out of the womb wanting to murder people. However, they're driven to it because they tried to be good, because they tried to be a hero. They are like Hamlet, and like Othello in the wrong story. They're also sacrificing themselves going against the system of their world and trying to be better than it, only to get dragged down. Their resentment grows against the people they are trying to save, the selfish and weak people who don't seem all that grateful for their heroism. The ones who aren't making sacrifices, the ones who are just content being saved.

I finally understood. My enemy wasn't just the calamities, it was the faeries of Britain as well. They were pure and innocent in the truest sense, they enjoyed both good and evil things alike without losing either that purity or innocence. They are at their core, no different from the loathsome humans who drove me from britain. So I crushed every possible source of malice. Vested interests. Discrimmination. Oppression. Envy. Mockery. All of it. But it wasn't enough. A few fairies took a look at the foundation of peace so many had worked so hard to build ... and tore it apart, because they didn't like it, because they could.

This is what finally leads to Morgan's breaking point, to decide that actually... fairies don't deserve rights. Morgan decides that the fairies are unworthy of salvation and rather than being the hero the only way to accomplish her goals is to become the oppressor and tyrant.

I give up, if everything has failed if it has all come to nothing, then I can never believe in people's so called goodness or understand it. Even if I did, what would be the point? Everything I did, everything I worked for... was just a waste of time. After all the times they betrayed me I should ahve known better... but I still clung foolishly to a sliver of hope. ANd now, because I wasted my time caring about something so utterly absurd, I've failed yet again. If my intent was to keep britain alive, then I was a fool to think being its savior was the way to accomplish it. No more. I will find another way. A better way. ...That's it. I won't deliver the fairies to absolution; I won't deliver salvation. Enough of this faerie of paradise, enough of being Avalon le Fae, I should have ruled this land from the start.

However, as I said it's only Morgan's repeated attempts to be the hero and save the fairies that drove her to this conclusion. However, I'd be amiss to say that Morgan didn't have flaws or selfish qualities from the start. Morgan le Fay is created from the Morgan le Fay we created with from proper legend. I'm not going to explain the lore, but basically she's an alternate universe version, who received memories from the Morgan le Fay of our universe. She knows the story of Morgan le Fay who tried to steal King Arthur's kingdom out from under him.

Alternate Universe Morgan le Fay still had the same chip on her shoulder, and entitlement that our Morgan did. She wanted the kingdom, and wanted Britain for herself. Her desire to play savior might have come from that very same entitlement that she deserves britain. Similiarly, she was most likely hurt so badly from the lack of praise because she also deserves praise for her actions. She has a bit of a superiority complex that places her above the fairies and makes her believe she has the right to rule.

However, as I said Morgan didn't start out as a tyrant she did earnestly try to save the faeries despite harboring those more negative qualities and selfish intentions. She may have had a more self-serving variety of selflessness but it's more the fragility of her that causes her fall. She didn't fall because she was rotten to begin with, she was just not strong enough to withstand years and years of ungratefulness from the faeries and betrayal. She has all the makings of a proper hero, she decides to defy destiny to save the people of faerie britain when she was supposed to be their destroyer. However, because she's in a tragedy she falls due to her insecurities and flaws overwhelming her rather than rising to the occasion.

Her manga chapter and the FGO Lostbelt game prose itself uses the light in the distance as a metaphor for this. Morgan continues going forward on the faint light of hope that things will work out for her and that even as a tyrant she can save Britain. However, it's that same light that damns her. In tragedies heroic qualities become flipped into flaws. Morgan's most heroic quality is her determination, the willpower to endeavor for thousands of years to try to save Faerie Britain, but that determination makes her unchanging, causes her to make the same mistakes over and over again, and just makes her continually suffer like Sisyphus pushing his boulder up the hill.

But that light is just an insect trap - or at least that's how it is for the protagonist of the tragedy. Road to hell, and all that.

After reaching her breaking point Morgan decides she'll no longer try to save the fairies but rather only care about saving the kingdom itself. She goes from the kingdom's hero to its oppressive tyrant after seizing the throne for herself.

That's where we meet the villain we know today.

Now shifting gears to Geto Suguru, he is someone who starts out his story trying to be a hero. A little bit of context on the world of Jujutsu Kaisen, it takes place in an urban fantasy version of Japan where the jungian collective unconscious and the negative emotions of humanity create curses that kill and eat people. These curses need to be exorcised by a few special humans who are given superpowers known as jujutsu sorcerers.

There is an institution of sorcerers known as Jujutsu High, which raises sorcerers from a young age gifted with these powers to exorcise sorcerers. THese teenagers are often sent out on msisions. This is different from most stories of teenage heroes with superpower, because fighting curses is brutal and dangerous and most of these kids are going to die young. There's also no end in sight to the fight against curses, because no matter how many curses are exorcised humans will just keep making more.

Not only do they live in a cynical, and brutal world but most sorcerers are insanely selfish. Just to give an example of how immoral sorcerers are, one of the allies of the main characters is implied to molest her brother, and if she's not she still uses her like 12 year old brother as a child soldier. Nobody ever bothers to question this because the institution of sorcerers are inherently corrupt, it's an instituion that continually sends children off to their deaths and uses people as nothing more than cogs.

Caught within this unfair system and trapped in a cycle of exorcising curses that are just going to come back anyway is Geto Suguru, who is not only a model sorcerer he's presented as much more selfless than your average sorcerer. He's directly contrasted against Gojo Satoru who is kind of just a petty kid with a god complex.

Gojo uses his powers selfishly, he only fights because he's really powerful and killing curses is a way to test and use his abilities. (This is literally stated as canon by Nanami don't fight me on this I'm simplifying his motivations because this is not a Gojo meta look at the entire fight with Sukuna saving Megumi was a secondary concern he wanted to fight a strong opponent). Whether people are saved by his actions are a secondary concern.

Geto on the other hand goes against the grain for most of Jujutsu Society, and believes that they as stronger people have a duty to use their strength to protect the weak. This idea of noblesse oblige is way way different from the attitudes of most sorcerers, who as I said usually turn into petty little people with god complexes.

Not to say Geto doesn't have a god complex, but we'll get to that later. Geto is explicitly contrasted against Gojo who's the only other powerful sorcerer and his best friend, but doesn't think they have an obligation to use their powers to help anyone.

Right away we have two things in common with Morgan le Fay, number one they hold themselves to a higher minded ideal that of using their powers to act as a hero and protect the people underneath them. Number two, this is a choice they make to be better than the people around them. Morgan's destiny is to destroy the faeries and she tries to save them. Sorcerers usually just keep their heads down and do their jobs, they're not heroes, they don't save people they kill curses. In fact, the sorcerers who are selfish assholes (Mei Mei) are wildly succesful, the ones who try to help other people like Nanami die young.

They sacrifice themselves for others. Geto pursuing his higher minded ideal is faced with the same kind of tragedy that Morgan is, where his attempts to save a teenage girl named Riko not only blatantly fail, they fail because of Toji a person who cannot use cursed energy. Everyone they tried to protect died, and they're shown first hand not only does the world not really care about their idealism, but they're not really powerful enough to change this world in any way.

Morgan's lover Uther and all of her allies is ruthlessly slaughtered, by the same faeries she was trying to save after she brokered peace. Geto tries to save a little girl, and he not only watches her die, but he sees an entire crowd of normal people, the people he is fighting to save applause for her death. They all applaud her death because they're a part of a cult that believes that the girl was an affront to their god, but she was mostly just a normal teenager. He witnesses first hand that normal people do not care for the fate of Jujutsu Sorcerers whatsoever.

If Geto were more selfish he would be rewarded. If he didn't attempt to save people, if he just only cared about exorcising curses like Gojo did he'd probably become more powerful and he wouldn't succumb to despair the way he had. Geto exists in a narrative where selfishness is rewarded, and his selfless, heroic traits are continually punished.

This traumatic event makes him aware similarly to the brutal cycle he is caught up in. Morgan le Fay can't save the faeries, because faeries are jerks who can't change. Geto will just continually exorcise curses over and over again. Not only is humanity just going to keep producing more curses, but humans are vastly indifferent to the sacrifices that sorcerers (who are mostly children) keep making to try and save them.

Geto's choice to protect people is the cause of his suffering, because sacrifice is inherently taking on suffering for the sake of someone else - therefore sacrifice is suffering.

This too, leads to Geto's eventual breaking point where he lets his resentment for the same people he's trying to save corrupt him. An incident where just after seeing his dear friend die because of a curse, he's brought to a village of people. The whole village put two little girls in a cage, who were capable of seeing curses and blamed them as the scapegoat for a curse reflecting his village. Geto sees a flash of what happened to Riko again, a crowd full of normal people who don't have to fight curses applauding for the sacrifice of a little girl who was innocent. It's the macrocosm, all of society forcing a few sorcerers to die exorcising curses for them, shown on the microcosm, one village scapegoating two little girls who did nothing wrong.

That's what leads Geto to snap and massacre the whole village. He's now turned against the masses he wants to protect. He then decides that instead of protecting the masses, he's going to kill them and build a world of only sorcerers. He's no longer trying to save them, like Morgan le Fay he's turned to the hero and the Tyrant.

They both even utter similiar words.

I will never save the faeries! I will never forgive the faeries! I don't like monkeys. That's the truth I chose.

Monkeys is by the way, the word Geto uses to refer to normal people who cannot fight curses or even see them. People who don't have superpowers.

One more time I want to emphasize Geto did not come out of the womb wanting genocide. Hamlet didn't start out the play stabbing people. He does have his flaws, just like Morgan by assuming the role of the hero he sees himself in a separate, superior category to the people he wants to protect. There's a line I like in a youtube analysis for for Yuji that applies to Geto as well.

(Other people exist to be saved, which gives Yuji a role in the world) In a way Yuji thinks other people exist to validate his own existence.

Geto begins the story not seeing other people as people. They exist in a category separate from himself. Part of the reason that his failures hit him so hard, is because they disprove this idea of superiority he has for himself. He's shown his god complex is just a complex and he's as flawed and capable of failure as any mortal.

It's an inability to recognize that failure, learn from it, and reconcile it with themselves that causes both Morgan le Fay and Geto to spiral. They are the hero, they are trying to be just, they should reap the just rewards for being a hero. Geto even says as such in a moment of rare jealousy for Gojo, that Gojo is someone who also has godlike power and if Geto had that same power he could change the world the way he wants. He could create his more just world.

Morgan and Geto are characters who begin their narratives with superior complexes and senses of entitlement, selfishly selfess heroes and those negative qualities eventually lead them to fail. Geto thought being a sorcerer made him superior, he just also thought that with that superiority came a responsibility to protect others. Morgan le Fay thought she was the rightful king of Britain, she also thought that divine right to be king also came with an obligation to protect Britain. However, they're not meant to be seen as people who all along wanted to oppress and hurt others.

The key word with tragedy is catharsis, we are supposed to feel for the protagonists of tragedies. We're supposed to see our own traits reflected in them. It's their human qualities to drive them to tragedy.

After all, you reader on tumblr would probably not be able to be a perfectly selfless hero. If you saved someone and then they immediately tried to kill you, you would probably just be a little bitter about it. If you were like Geto and you were working tirelessly to exorcise curses, and all you got was your friends dying, I don't think you'd be like "This is okay :D". If anything, going mad in their extreme circumstances seems like a reasonable response, because could we as the audience do any better in their situations?

Of course the last similarity between Geto and Morgan (besides the fact they both adopt daughters they raise up to be little psychos but this post is getting too long already) is the fact that they both heavily foil the heroes of the story they occupy. They see themselves as villain, they play the role of villain, but they're really just heroes of another story.

Paradise or god or fate or whatever in Faerie britain eventually conjures up another chosen one. This chosen one Altria or as the fandom calls her Castoria is far less heroic. IN fact unlike Morgan who embraces the role of savior she would rather do anything she could to avoid Britain.

This is because for similiar reasons as Morgan, the faeries have basically abused her and tormented her all her life. Yet they still expect her to selflessly step up as their chosen one and save the day from the evil oppressive tyrant Morgan.

You have one protagonist who embraces their heroic quest, and even goes above and beyond by ignoring her destiny to wipe out the faeries and saving them instead. You have another who continually runs away from the heroic quest, and honestly doesn't seem to care that much about saving faeries.

Morgan is actually openly sympathetic to Castoria, and even offers to ally with her a couple of times because she bears the same burden as chosen one. This is another example of how Morgan doesn't quite fit the role of either hero or villain, the ambiguity who makes tragedy.

However, while Morgan does everything to defy fate, Castoria just kind of keeps marching along every step of Joseph Campbell's the heroes journey until she ends up defeating Morgan. Well she doesn't truly defeat her, but Morgan meets her tragic end and gets stabbed a whole bunch of times.

There's a similiar foiling between Geto, and the series protagonist Yuji who both start out the story believing that as sorcerers they have a duty to save others. There are several in story comparisons and direct parallels between the two.

Yuji attempts to save others with his power as a sorcerer over and over again, and is met with the same continual failure that Geto has. Yuji is the only real sorcerer in his generation that cares about saving strangers with his powers. Nobara wants money to live in Tokyo, Megumi only cares about protecting Yuji and his sister, Yuta only cares about his friends, Maki only wants revenge against her clan. Like Maki blatantly says whether people get saved or not by her actions is none of her business.

His own attempts to save people not only fail badly, but he watches people die. He watches a lot of people die in a situation where he is powerless to stop them.

He's met with the same tragedy of Geto but he doesn't succumb to it. The same for Castoria she doesn't decide to be a Tyrant the way that Morgan le Fay did. I would argue this isn't because of any inherent goodness that Castoria or Yuji have but rather because both of them are able to let go of their egoes. Yuji kind of believes the same thing Geto does, that other people exist to be saved by him. He's broken when he realizes that he's not a savior after all...but he's able to continue in a way that Geto isn't.

Yuji lets go of his ego entirely and believes that he's just a cog in the machine and he doesn't need to be some big hero or be rewarded at the end of his hero's journey.

Geto and Morgan le Fay both long for a role in the grand scheme of things. They are still employing narrative thinking, they need to play a story role to validate their existences. It's just that they flipped their role, they tried being the heroes but it didn't work so they're the villains now.

Geto is similiarly rebuffed by Yuta who is his eventual killer by saying that he doesn't actually care about saving the world or if Geto is right that sorcerers are superior to humans, he's only fighting for his friends.

I would say for both castoria and yuji it's not a matter of being inherently good people, but rather of being better at enduring than their counterparts are. Morgan le Fay and Geto try to take the world's suffering on their shoulders, and it breaks them because they're not heroes they're just normal people. Yuji, Castoria and to the same extent Yuta kind of learn to let go of their great heroic aspirations but because of that they're able to take on suffering better. They're trying to live in reality not a grand heroic fantasy.

To bring the example back to FGO, for Castoria and for Morgan the light of hope that led them down their heroic journeys mean two different things. For Morgan that light is an insect trap. Her flying towards that light just causes her to keep suffering through her sisyphian task. Castoria has a much more realistic point of view, she's not trying to get a happy ending or even save people, that light is the hope that at the end of her journey her actions will have meant something. It's more about the journey itself and the people she met along the way, then some big grand reward at the end.

Morgan le Fay and Geto both fail because they are fragile, because they are human. That's the most important takeaway of this long rambling post. They may be selfish, they may be entitled but they're flawed in human ways. After all, who doesn't want a happy ending?

[morurui]

CHAOS THEORY SPOILER REVIEW

Cause I just finished it and I have thoughts!

Sooooo I honestly have mixed feelings about Chaos Theory if I’m going to be honest I feel like there are some things that worked in my opinion and some things that didn’t really work for me so I’ll be separating this review into three parts: Things I liked, Things I wasn’t a fan of, and General thoughts.

Things I liked:

-The animation was absolutely gorgeous, it was such a step up from Camp Cretaceous that it’s weird to think that they’re apart of the same series. The team behind it did an absolutely amazing job!

-The last two episodes. Oh my god were those last two episodes so good, they had me at the edge of my seat as well as episode 10 finally giving us interactions between the entirety of the nublar 5

-YASAMMY. I think yasammy was done so well this season. Their fight was so real, nobody was totally in the wrong, but they both weren’t communicating their feelings to each other well and they resolved it in the end. It was just perfect

-Yasmina Fadoula. She was written so well I loved how they didn’t just completely forget she has PTSD and anxiety and included that in her character arc for this season. I also loved how they used her to address how bad it is to infantilize those with mental disorders. (Yaz and I are anxiety twins 🧘‍♀️)

-Mateo. The GOAT. I am the number one Mateo fan, dont ever forget it. I love that man and I will stand by him, I was stressing for his life during episode 10.

-Microbang villain girl was such a menacing villain at the end and I honestly love her. It’s clear that while she is using the atrociraptors for evil deeds she does clearly care for them. I desperately need to know more about her…

-Kenji and Brooklynn’s new voice actors do such a good job with the characters and while I’ll miss Jenna and Ryan, their new voices were casted very well!

Things I wasn’t a big fan of:

-Now to address the elephant in the room…Darius being in love with Brooklynn. (I’m going to try to look at this through an objective pov, but since I don’t ship dinostar obviously there’ll be a slight bias)(nothing wrong if you do ship Dinostar I’m happy for you, but these are just my feelings) Im not a big fan of this. To me I’ve never really read Darius and Brooklynn as being romantic together and their friendship is something I truly cherished about JWCC. I do see why they probably decided to make the decision to have Darius be in love with Brooklynn, but to me it’s kind of upsetting in a way to have Darius’s extreme grief response not be just because they were best friends. It feels like the writers were saying “Well, he’s not experiencing this grief so hard because she was his best friend, but it’s actually because he loves her!”. We’ve seen loss be something Darius takes extremely hard (His dad’s death and Ben’s death) and so I don’t really see why they made it so he was in love with her to justify his response when it’s in character without it. Idk man…

-Brooklynn being alive….HEAR ME OUT HEAR ME OUT. THIS IS NOT BECAUSE I HATE BROOKLYNN SHES ACTUALLY ONE OF MY FAVORITE CHARACTERS. But idk these fake out deaths are starting getting to wear me down. Even Bumpy had a fake out death 😭. I get why they kept her alive being as she is a beloved character, but I just think it would’ve been better for her to be a character that somewhat haunts the narrative. It adds more onto the mystery, not only that but it allows the nublar five to explore “Hey our friend was hiding things from us and we’ll never truly get answers, but we’re going to find out what lead to her death and put a stop to it”. Which was what the nublar five are on a path to, until Brooklynn inevitably shows back up and explains everything. Also why did they give her the 2017 Katy Perry haircut…

-Kenji and Darius’s dynamic. I loved how they used their dynamic at the beginning of the show with Kenji blaming Darius for Brooklynn’s death, but beyond that moment their dynamic felt off to me. It was not helped by the whole Darius being in love with Brooklynn thing, but it just felt like they toned down their brotherly bond in this show (ironic since this is the first time we see them call themselves brothers)

General thoughts

-Jesus Christ was Kenji this shows punching bag 😭. He literally does not get a break, it just keeps on coming, breaking up with his girlfriend because she’s not invested in their relationship anymore, living in a trailer with a failing rock climbing business, his girlfriend kept secrets from him all while working with his estranged dad behind his back, his dad trying to use him again and then dying saving him, AND his brother was in love with his ex girlfriend. All in the span of ten episodes. If I was him I would have a mental breakdown every single day.

-Do yall think Ben actually has a girlfriend? I’m like at a 70/40 split, because he only talks about her two times and the first time he brings her up she totally sounds fake. “She’s from…Europe” Why did you have to think so much Benjamin? Also he fully just said she’s from the continent of Europe rather than a specific country in Europe. Also also it’s implied he hasn’t had a phone on him for a while so how does a long distance relationship work if he doesn’t have any means to contact her??? And he doesn’t even have a picture of her in his van. That man is hiding something I need to know…

-Ben and Darius had like 30-40 minutes of screen time shared between them, which is weird because like most of the show was marketed with them being the main protags and they barely interact beyond episode 4. (Their dynamic was too strong for people to handle “do you talk to your mother with that mouth” broke the world)

-Bumpy having a baby is something I predicted and I’m happy I was right!

Anyway that’s really it, sorry this was pretty long and excuse any typos or grammatical errors, but these were just some of my thoughts!

[dr-spectre]

Talking about Side Order and... Marina. (SPOILERS AHEAD!!!!)

You know, i really enjoyed Side Order, like it wasn't perfect or anything but i had such a blast with it and if they continue to expand on it we could have something REALLY amazing. My reaction to the GOD DAMN TUTORIAL BOSS GOT ME HYPERVENTILATING! IM NOT JOKING! IT WAS SO EXCITING AND SHOCKING!!! THE FINAL BOSS WAS INCREDIBLE TOO! I was singing along to Spectrum Obligato and WHEN THEY BROUGHT IN THE STUFF FROM THE LIVE CONCERT VERSION OF EBB AND FLOW MY JAW DROPPED!!!

However i gotta admit, the story could have been better, what was the deal with the Octoling engineers Marina was talking about? That goes completely nowhere and i thought it was gonna build to something with the repeat playthroughs of the final boss.

And of course, the biggest missed opportunity in my opinion, Marina Agitando.

Now look, i wanna say right off the bat, the design is excellent, it was so smart to bring back her Order outfit and make her into a giant abomination that moves in such a weird way that makes you feel uncomfortable. When i saw her for the very first time when you enter the room, i stood there for at least a solid minute in complete disbelief and shock seeing a giant Marina in some octopus tentacle heart thingy that beats and pumps with the music. The song that plays too "Unconscience" is such a BANGER and honestly it rivals Octo Callie's Bomb Rush Blush remix in my opinion.

The build up for this was pretty good too, seeing Marina say "help me" before she was knocked unconscious and then possessed by Overlorder BROKE ME! I was like "OH NO! ITS HAPPENING AGAIN! NOT MARINA!!" The build up to the 10th floor was so anxiety inducing because you know in the back of your mind that Marina is gonna fight you but you don't know what it's gonna look like, if you were there since Splatoon 2 and have watched Pearl and Marina since the beginning then this build up is even more anxiety inducing and its pretty damn good. And once you free Marina she feels so sorry about what happened and helps you out to put things right, heck she goes through a small character arc of embracing chaos.... but... i have to say...

It is unfortunately not executed that well or with any depth in my opinion because they repeated the whole thing of "oh no a character we know is evil because of (quote on quote) mind control!!!! oh noooo!!" Which is a tired trope in this series that needs to stop or else I'm gonna get REALLYYYYYY pissed off.

I've done enough ranting about Callie's villain arc and how that has been misinterpreted and stuff, but for Marina, i really wish they didn't do the whole "oh no a character is evil because of an evil character oh nooo!! we gotta save them!!" thing again and i wish Marina was more of a villain with a sad motivation for her actions. As much as its cute to see Pearl and Marina act all flirty with each other in Side Order, it kinda ruins the mysterious and dark tone of the story that was teased from the trailers and the tutorial in my opinion. Everything is also explained so quickly early on which really sucks. I really wish Marina was actually conscious throughout her time as Marina Agitando and most of it should have been her fault. She does blame herself for creating Overlorder but it's kinda brushed aside quickly and Marina ends up being totally fine and free of guilt. There isn't enough depth to it which is so lame and a missed opportunity.

Marina is flawed, she makes mistakes and acts emotional and angry sometimes. We have seen a side of Marina where she snaps at Pearl when she loses Splatfests and has shown signs that she still hasn't recovered from her time before she met Pearl.

She picked team Order because she was genuinely scared that her new life would fall apart and she doesn't wanna lose the people (especially Pearl) that she's met and grown to love. Marina is also heavily theorized to be on the autism spectrum and as someone who is autistic, i can see myself in Marina, they could have really explored Marina's psyche and mental health in Side Order but they just... didn't. Instead she's put to sleep and controlled by her ai child and all of the focus is put on stopping it like a traditional "oh no we gotta stop an evil ai!! oh noo!!" story... ugh... I mean Smollusk is cute i guess but there's not a ton to them and they come off as yet another "evil ai that wants order and control!! roarrr!!!"

From reading the most recent interview on Side Order and seeing the concept art, they said that they wanted to tell a story about Marina losing herself to a machine that she created. Could you imagine how tragic it would have been to learn more about Marina and how she's so wrapped up in anxiety that she decides to make this replica of Inkopolis Square and make the Memverse? Maybe at first she makes it to help Sanitized Octolings just like in the dlc, but then maybe due to overwork and burnout (which Pearl mentions in the tutorial by the way), her emotions and anxiety become so strong that she becomes consumed by it, this obsession of order and trying to achieve happiness takes over her and then she gets the idea to spread this order to the real world, where her friends can be "happy" and "safe." Maybe Overlorder is still there but they just whisper to Marina, manipulate and point her in the right direction to continue to her mission of order instead of just fucking knocking her out and using her as a meat puppet for 5 minutes.

Could you imagine how much better the build up would have been to not see Marina until you get to the 30th floor for the first time and you got to unlock her diary entries beforehand? Seeing her thought process and her slow descent into becoming an antagonist. I'm not sure how they would have changed the permanent upgrades but they could have thought of something man. I get that they wanted to subvert expectations but, i think they should have gone WAY further with Marina Agitando.

I was waiting for Pearl and Marina to have their "Tidal Rush" moment where it's this emotional battle between the two, could you imagine how DEVISTATING a remix of Ebb and Flow would have been if it had gotten that "Tidal Rush" type of remix? Pearl singing her parts in this chaotic and emotional way, on the brink of tears trying to get Marina back and calm her down, and Marina trying to fight back against her words, not wanting to believe her because she's so wrapped up trying to make them both happy in her way. She's so caught up in order that she has forgotten what Pearl wants, that Pearl wants to be with her and go against any obstacle that stands in their way together. God i would have cried seeing that I'm not gonna lie. Maybe once Marina starts to think rationally, she breaks free from the machine and then leaps into Pearl's arms, and then we have to go back up the 30 floors to fight Overlorder and we slowly see Marina learn to embrace chaos throughout the floors instead of it just being at the final boss.

I really do feel like Splatoon has this issue of trying to appeal way too hard to kids and being really scared to dive into the flaws of these characters. They are so avoidant of being more serious and they hide it away in optional collectables and obscure posts on social media that creates misinformation and stories that feel way too undeveloped. They just say "oh this character has been brainwashed!!" which is such a lazy and bullshit trope they slap on these characters to avoid getting into their flaws for some stupid reason. (Hell that word has lost all meaning to me now to be honest. Like no, Callie wasn't "brainwashed" per say, hypnosis is not brainwashing or mind control I've said that a trillion times in other blog posts but whatever. Agent 3 was knocked out and had no clue on what was happening. They weren't "brainwashed" they were used as a puppet from a fucking goopy telephone for five minutes while they were asleep. Maybe its poor translation i don't know.)

I know that Splatoon is made for all ages and primarily for children but, i find that to be a stupid excuse for bad storytelling, a good story with depth that's explored and set up properly can be applied to all kinds of age groups not just adults. And the adults that say that shit too, why do you think like that? Why do you wish to dismiss that sort of thing in media? So what if it's made for kids? Adults write these stories and plant themes and arcs into them. Why do you think people cried over the Rosalina storybook in Mario Galaxy and think its the best part of that game? You don't want that kind of stuff in games because "they are made for kids"? Why do you think there are so many adults in the Splatoon community hmm?

I am so worried for Deep Cut in the next game because i really don't want this to happen again, i want an actual proper villain arc for either Frye or Shiver. No hypnosis, no brainwashing, no mind control. Just a pure fucking villain arc caused by the flaws of the characters and without the involvement of a third party. Please, i wanna see growth in these characters that is explored way more clearly and better. Or maybe don't do a villain arc again and just have Deep Cut be fully happy with each other and develop their relationship more with lore and backstory. PLEASE!

Anyways ramble over, thank you for reading!

[super-paper]

so what are your thoughts about what happened to og!afo? while og!afo was able to stop pretending right before his death, i feel like it was just... not enough? do you think his character arc is not over yet and will continue with vestige!afo? because i can't stop thinking about 368 where shigaraki's face changed to afo's pre!potato face upong seeing yoichi and how in 369 afo kept saying "not yet, not yet!" and talking as if he still has some kind of a last card up his sleeve. and that trump card was mentioned again in this chapter.

If this were the actual conclusion to AFO's arc, I wouldn't feel satisfied! But like you said, Hori has already gone out of his way to include the "trump card" line and left the actual fate of AFO's vestige deliberately ambiguous (ex: using words like "suppressed/defeated" instead of "killed" to describe vestige-for-one). Like, there's a lot that points to his arc not being finished yet, imho.

That said, I do believe AFO's "trump card" is gonna be something particularly heinous, and may involve him tipping his hand/finally revealing his involvement in the Shimura Family massacre. Like, something we have to keep in mind is that Tomura sincerely believes that he killed his family intentionally and that he """enjoyed""" killing them + enjoyed destroying his home— it’s what he considers to be his origin, and "remembering that origin" is what allowed him to take back control of his body. So in theory, all AFO has to do in order to shatter Tomura's sense of self is cast doubt on that "origin" (which in turn may create a necessity for Tomura to finally remember his *actual* origin in order to take back control of his body again).

Like, I gotta stress: AFO's villain mask/demon lord persona finally slipping off to reveal the pitiful and desperately lonely human underneath does not equal him suddenly becoming a good person, so I'm 100% expecting vestige-for-one to try and pull some truly awful bullshit at the absolute worst possible time lmfao.

----

Anyhoo, a couple more points to consider:

I know I'm beating a dead horse at this point, but once again: names are everything in mha and Hori 100% wants his readers to pay attention to what names are being used/emphasized during key scenes-- especially when it comes to names being used to separate fantasy from reality, authentic from inauthentic, and the "actor" from the "character/role."

Chapter 393 begins with the LOV discussing the meaning behind hero and villain names and encouraging Toga to pick a villain name for herself (with Toga ultimately deciding to use "Toga Himiko" written in katakana as her villain name because she ultimately just wants to be seen as herself)-- chapter 393 then ends with Ochako referring to Toga as "Himiko-chan," in a stealth rejection of Toga's stealth villain name. Bakugo resurrects and starts proudly referring to himself as "Kacchan" instead of “Great Explosion Murder God" + starts calling Izuku by his given name in total earnest. Meanwhile, Tomura stops referring to Izuku by his given name and starts referring to him as the much colder and distant "hero." Etc etc.

With this in mind, AFO still not having a name reveal-- not even during his own damn flashback/origin chapter-- is something that sticks out like a sore thumb.

This chapter was (appropriately titled) our farewell to "All For One: The Demon Lord/The Villain King/The Shameless LARPer" It's not necessarily our farewell to "*insert name here*: The Cataclysmic Mess Of A Person" yet. Yoichi and Tomura are the only ones who can properly say farewell to that side of AFO, because despite everything, they're the only ones who have some semblance of pity/"affection" for AFO as an actual human person (not as a god, or an object of worship, or a villain king, or a "role").

Death and Rebirth continues to be one of the big (and criminally underrated) themes of the series-- MHA frequently plays with the idea that part of a character's identity/alter-ego can "die" while their body lives on (or conversely, that a person's will can take on a life of its own and live on even if their body dies. which. y'know.)

All Might """dies,""" but Yagi Toshinori lives. Touya """dies""" and Dabi is born. Tenko """dies""" and is "reborn" as Shigaraki Tomura. Endeavor """dies""" during the PLW, leaving the world's ugliest crier Todoroki Enji behind. The representation of Keigo's hero identity (the fierce wings vestige) """dies""". Bakugo switches it up by dying for real, but upon resurrection, sheds his conceit and discards the "mask" he used to conceal his insecurities. Etc etc.

AFO himself has always been born (and reborn) from death. He takes his very first breaths while next to the corpse of his mother and half-dead brother. He died once, but was brought back to life by someone that society rejected and AFO ""accepted"". He has now died a second time, triggering a subtle change in Tomura that has made him even more dangerous (i.e. Tomura has started using the AFO quirk again, and more specifically, is now using the AFO quirk to whittle away at the collective "will" of OFA by stealing the vestiges one by one. This Action Will Have Consequences.jpg)

Killing AFO does not actually solve the root problems of this story, nor does it fix the longstanding problems of heroaca society (which all precede the advent of quirks and the creation of the hero/villain system)-- or rather, it might be better to say that AFO will never *truly* die as long as the world remains fundamentally unchanged. AFO is enabled by the status quo! He is allowed to keep existing and able to continuously resurrect himself over and over and over again as the ultimate villain specifically because of it.

My theory right now is that AFO will only die permanently when A) He is finally acknowledged as a human individual and given a name, and B) when Izuku finally takes Tomura's hand + Tomura is "finally taken out of the garden and back into the house," symbolizing the radical shift in the status quo that empowered (read: created) AFO in the first place.

Also worth mentioning: body!AFO and vestige!AFO are heavily implied to have some sort of "shared" awareness with each other-- we even see body!AFO flashing back to the UA cage match during his mental breakdown. This means there's a chance what body!AFO was feeling at the moment of his death might spill over to vestige!AFO, allowing for his arc to continue seamlessly from where it apparently "left off" during this chapter.

Which is good! Because this chapter has AFO finally admitting that "nothing is good" without Yoichi while also indirectly confirming that yes, the various traumas from his childhood DID in fact play a major role in his development into a villain-- AFO and Yoichi growing up in a society that ignored them is basically what fuels AFO's ridiculously self-detrimental attention seeking behaviors (like the AFOmight fight becomes retroactively hilarious when u realize AFO was trying to get as much attention out of mangling Toshi as possible and that his obsessive need to kill Toshi in front of an audience is what ultimately led to his downfall 💀It's, uh, marginally less hilarious when u also realize that he impulsively killed Yoichi bc Yochi had stopped looking at him. 😬)

Anyway....!! AFO and Yoichi are both the "source" and the representation of the main conflict in this series-- og!AFO fizzling out without any fanfare is admittedly an appropriate narrative punishment for someone who wanted to be the eternal star of the show, but it doesn't offer a proper resolution to the actual conflict of the series: the cycle of irrational fear and insecurity leading to a lack of understanding, lack of understanding leading to rejection, rejection leading to the creation of villains, villains creating more fear in civilians and leading to the necessity of heroes, which inevitably leads to even more rejection, and so on and so forth, etc etc etc. Yoichi and AFO exist at the center of this cycle, representing it in its purest form-- and Tomura is the ultimate consequence of this cycle.

Ultimately, I feel like vestige for one’s death may be….. gentler, for lack of a better word. Less focused on karmic punishment and more focused on giving Yoichi and Tomura a sense of closure. Like, it's honestly not about what AFO "deserves," but what Yoichi needs in order to finally pass on and what Tomura needs to finally detangle himself from AFO (although in the spirit of keeping it completely real, all three of them need to detangle themselves from each other lmfao💀💀💀). Neither Yoichi or Tomura have ever been granted a chance to truly grieve the loss of themselves or their families, and AFO is at the root of that as someone who is both "family" and as someone who also took everything away from them.

tl;dr Hori can eat his cake (punish AFO for his hubris by having him fight, lose, and die against versions of himself that *chose* to be better or regret how they treated their own "Yoichis"-- i.e. Toshinori, Endeavor, Bkgo) and have it too (finally resolve the ShigaBros century long conflict and the complicated feelings AFO-Yoichi-Tomura all have for each other, giving everyone the closure they desperately need) thanks to the presence of the vestige world.

I also think it'd be cool to get some sort of resolution re: the captain hero comics, since they were the "trigger" that started it all-- perhaps in the form of a dying dream sequence, where we get Yoichi and AFO as children again-- but this time Yoichi basically forces AFO to sit his ass down and finally read volume 4 of captain hero lmfao.

Like, a lot of AFO's actions/beliefs stem from his insistence that he ~already knew~ how the story was gonna end, and he built his life and plans around "rejecting" that ending-- I feel like a scenario where it turns out the ending WASN'T what he expected (like, say it was an ending where Captain Hero does defeat the Demon Lord, but ultimately chooses to save him rather than kill him-- something that mirrors Tomura's ultimate fate, rather than AFO's) would be a neat way to wrap up his and Yoichi's arcs from a metafiction perspective, since he and Yoichi both represent "different types of readers."

It would also be bittersweet, with the implication that things could have been different if AFO had just stopped being reddit pilled for five seconds and just read to the end with Yoichi in the first place-- the blueprint for an ending where the hero is no longer all alone and where the "demon lord" doesn't have to die/vanish at the end of the story was there all along, he just refused to see it.

tl;dr 2.0: AFO's ultimate punishment should involve him getting slapped in the face by tiny yoichi with his little comics over and over and over again until he develops an actual sense of media literacy.

[writingquestionsanswered]

Guide: Natural Character Arcs

Anonymous asked: My MC will have a "not my circus, not my monkeys"- behavior, but I want her to slowly want to help peopel as she gets more powerful throughout the series and eventually grows into her role as protector of the people. I want to give her natural character growth without it seeming "out of nowhere" or "out of character" since it will be a total 180 from the start of everything. Do you have any tips for the natural transition in character development that is drastically different from the start?

(Ask edited for length...)

Having a character do a complete but natural 180 between the beginning and end of the story is what's called a "character arc."

Here are the steps in creating a natural character arc:

1 - Understand the Internal Conflict - Stories are either plot-driven (centered on an external conflict/problem in the character's world), character-driven (centered on an internal conflict/problem in the character's self), or a combination of both. Character arc occurs in stories that are character-driven or both plot and character-driven, mainly in the protagonist and other important main characters. It's this problem in the character's self that causes who they are in the beginning of the story, and it's this problem that they must resolve in order to change by the end.

2 - Choose a Relevant Internal Conflict - Your protagonist needs to have an internal conflict that is relevant to the story events. If your story is entirely character-driven, the character arc is the whole story. The events of the story should naturally stem from your character's journey to resolve their internal conflict. If your story is partially plot-driven, the internal conflict should tie into the external conflict in some way. Both conflicts should stem from the same problem, or the path that leads to resolving the external conflict should lead to resolving the internal conflict--either directly or indirectly.

3 - Events = Experiences = Change - As the events of your story unfold, your character should have experiences as a result of those events that impact their understanding of their internal conflict. Let's say your character's internal conflict is the belief that they have no value beyond their role in a villainous organization. As the events of the story unfold, they would need to start seeing evidence that challenges that belief, makes them ask questions, and motivates them to push against the boundaries of that belief. In other words, as this character gets involved with things outside the organization, they start to see evidence that they do have value outside their role in the organization. This avalanches into questioning not just their belief but the organization itself and their involvement of it. As they test the waters of this new understanding and find confirmation that change is right for them, the change naturally takes place.

4 - Include Doubts, Fails, and Setbacks - Although you want the overall trajectory of their arc to be in the direction of their change, you still want to illustrate their doubts (Could this really be true? Do I really have value beyond the organization? Could the organization be bad? No, surely that can't be right...) and have the occasional failure or setback in their attempt to change. In other words, you don't want them to have an easy transition from where they are at the beginning to where they are at the end. Their internal conflict's claws are in pretty deep, so there needs to be some struggle as they try to move in a different direction.

5 - Show the Completed Change in Action - Wherever they end up, you want to give the character the opportunity to show that they've changed. For example, maybe the villainous organization comes at them with an "offer they can't refuse," and the old them would have jumped at that opportunity, but they're not that person anymore. Showing them refusing this offer illustrates that they've really and truly changed once and for all.

Happy writing!

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[myimaginarywonderland]

Maybe it's just me but something about this season of Doctor Who and the whole structure very much feels like it is set up for 3 seasons. Everything about this season and plots of Doctor Who has very much felt like the beginning to a longer season arc and I am curious if that is why they have already finished some filming because they have written it that way.

It would be interesting because we have never seen something like this before but I can not see any other explanation for the limited episodes and some of the storylines.

Here is why I believe it:

Ruby's story is starting to be told. We have sort of uncovered one side to her parentage while another is still a big question mark and both need to/feel like they will be explored. It feels like the end of this finale was clearly a set up for Ruby's actual story of family in the next season where there will clearly be some conflict (maybe her biological father doesn't want her , maybe she is confronted with the two versions of family she now has) that will be the focus of her storyline while also leaving some room for her to still be a companion. It seems very obvious to me that Ruby's story is written for maybe 2 seasons with a special as a last ride and therefore we are already going to be lightly introduced to the next companion once Ruby's story is told.

Ms Flood feels a lot like Lemony Snicket from ASOUE (the TV Show as I have never read the books.) I feel like we will continue to have her be a present point to us as the viewers in some way before the season 2 finale will finally confront her with the doctor and will give season 3 either the chance to be her story as a villain or to explore her role as morally grey character. It seems obvious to me that since the specials she was hinted at being a long term reoccurring character that is clearly part of a much bigger picture. I imagine with the end of Ruby's story will come a split where we finally get to meet Ms Flood on her own and have her actually interact with the doctor for her actual purpose.

Rogar ap Gwilliam. I know we technically had his hints resolved in 73 yards but especially now with his call back in the finale and all the hints we have had for him throughout the season, I am convinced he is going to have a bigger role in season 2. It just feels to continent to have him appear once yet still have him haunt the storyline in some way without there being more to him or his character. I could totally see him especially with his connection to Ruby be the villain or a big plot point of the second season.

Susan. With all the talk, the hints etc. there is no way we are not seeing Susan in some way/form or other. She was already hinted at in 12s run and with 15 she has been more prominent than ever. Not delivering on that, not having some kind off pay off for the suspension and conflict that now has already been built around her would be the cheapest and worst decision ever.

Sutekh. While I fairly confident he won't actually be back, we have now opened this whole can of Gods possibly influencing the story but first and foremost be real. There is clearly more to this than just his one appearance and God's as a conception will clearly return in some way, maybe even bring someone like the Trickster back to make this an ever more present fact.

All these plot points, all these characters have slowly been set in motion, have slowly begun to build up and some like Ruby are finally beginning to have their story told. But overall all of them on their own very much feel like set pieces that are waiting to be moved, like the opening for a play. It feels like we are watching all these smaller plots be developed for a much larger arc. If this weren't Doctor Who, I would have no doubt that this would be a show with 3 seasons that would end there because the structure seems so clear and obvious.

So I am definitely curious to see how this will turn out or if I am insane for this but this could not be 3 season arc any more clearer if it tried.

[katenikii]

JJK is about cooperation.

There's nothing I disagree with more than "JJK Is individualistic" takes. Other shonens(and shonen protagonists) are a lot more individualistic, because everybody depends on one person and this person is key to literally everything(Bleach, Naruto, OP, AoT are just like that). JJK is different.

Loneliness is one of the major themes in JJK, especially Hidden Inventory/Premature Death: Geto's descent to madness, Gojo's awakening, Toji's resentment towards the "gifted" ones, Shoko's isolation are all tied to that feeling. It's never a good thing to be lonely in JJK.

Gojo's "You die alone" view is debunked as of right now(thanks to the airport scene) and when you go back, you understand that Gojo has always taught his student to not waste their individual potential. Gojo's teaching his students to never resort to sacrifice as a mean of achieving something. But he never said anything about cooperation and weakness being equal.

The villains in JJK are also strong individually AND collectively. They never really operated alone too. Kenjaku has always had strong allies. Even Sukuna has always had Uraume by his side. And when JJK villains do operate separately, they fail. Naoya lost thrice: to Choso, where not only their techniques clashed, but their views on family, and Maki, where he underestimated her once, and then repeated his mistake .

The current narrative shows, that you have to have individual strength in order to bring something to the table, when it comes to the final fight. Gojo wouldn't have nurtured weak students. In order to rely on each other his students have to be reliable, Gege explicitly shows us when all individuals are weak, their collective effort is useless, that's why Kyoto High is a total wreck, and that's why Todo's technique works so well with Yuji, who was just a beginner sorcerer when he fought a special grade curse Hanami.

Yuji's "cog mentality" plays a huge part in this. He has come a long way, so now he's able to fight alone and take on opponents as strong as Choso. We often see him lose, but that's because he is facing opponents objectively more skilled and expirienced than him. He is motivated to get stronger not because everyone counts on him, but because in order to fullfill his duty as a cog in the mechanism, he has to be strong.

There's a pattern in Gege's writing, that miscalculation WILL cost you something, even your life(e.g. Choso's brothers, Yuki, the Zenin clan, Curse Naoya, Miwa and her binding vow). But being reliant on each other has never been seen as a weakness by Gege. If so, Gojo wouldn't have lost and we wouldn't have witnessed how Gojo's effort helped weaken Sukuna. Additionally, Gojo explicitly told us in the very beginning of JJK that he can, in fact, kill the higher-ups, but that wouldn't change much, because he needs strong allies to change the Jujutsu World.

That's why Shinjuku Showdown arc ending in real collective effort against evil is essentially proving the point that JJK is about comradery, not individualism. We'll see where this will lead us to. P.S. I would say that there is a certain type of collectivism, that Gege is criticising, that's tribalism that is so prominent in the Zenin clan and rural Japan, where there is a strong prejudice against sorcerers(Mimiko and Nanako's story) and anyone who's different(Kugisaki's flashback). Gege praises anyone who recognises that and is able to leave it *all* behind, by maybe not giving them the happy end, but a dignified conclusion.

[lucascecil]

Doctor Who - Eighth Doctor Guide

This incarnation first appeared in the 1996 movie ‘Doctor Who’ in which was, at the time, an attempt to bring the show back while trying to bring in American viewers. It was a total failure and the show would only come back on TV in 2005 with the new series. However, these were exciting news to the expanded universe: the Eighth Doctor opened a door to explore new and imaginative ideas in this second half of the wilderness years (as we call the show hiatus from 1989 to 2005).

Virgin Books would lose their license to Doctor Who and therefore their publication of the Seventh Doctor books, at the time the only continuation to the show we had, stopped. Instead, the Eighth Doctor Adventures were released, a book series focusing on the adventures of the Eighth Doctor with new, original companions. And, five years later, Paul McGann would once again step into the role in Big Finish.

These guides include only tv, books and audio stories, but this time only I will make an exception: we’ll include the Doctor Who Magazine Comics too. You totally should give these comics a chance for other Doctors too, but Eight is getting special treatment because the Magazine did its own thing with him just as the other media. It has four well defined narrative arcs/”seasons” and introduces their own original companion. So let’s start!

INTO THE COMICS

‘Season one’ – Adventures with Izzy

[ ] Endgame

[ ] The Keep

[ ] A Life of Matter and Death

[ ] Fire and Brimstone

[ ] By Hook or by Crook

[ ] Tooth and Claw

[ ] The Final Chapter

[ ] Wormwood

[ ] Happy Deathday

This season picks up a plot point from the Seventh Doctor DWM’s comics regarding a recurring villain, but you’ll understand it fine enough even if haven’t read what came before. This is collected as The Eighth Doctor Comics Strips volume 01, as that edition has a summary of what you need to know. Otherwise, it’s a perfect jumping point. The Doctor meets Izzy Sinclair, a young girl from Stockbridge that helps him fight the Toymaker when the elder god takes control of the town, quickstating a long road of self-discovery for Izzy.

‘Season two’ – Continued adventures with Izzy, plus Kroton

[ ] The Fallen

[ ] Unnatural Born Killers

[ ] The Road to Hell

[ ] TV Action!

[ ] The Company of Thieves

[ ] The Glorious Dead

[ ] The Autonomy Bug

This season is collected as The Eighth Doctor Comics Strips volume 02 and introduces a temporary companion I love: Kroton, the good Cybermen. It also has one of the best Master stories ever. It also features the only other proper Grace story ever since I think they just ignored the copyright issue and used her anyway.

‘Season three’ – Continued adventures with Izzy

[ ] Ophidius

[ ] Beautiful Freak

[ ] The Way of All Flesh

[ ] Children of the Revolution

[ ] Me and My Shadow

[ ] Uroboros

[ ] Oblivion

This season is collected as the Eighth Doctor Comics Strips volume 03. This season finishes Izzy’s story while also introducing the next companion, Destrii. It also has one of my favorite Daleks stories.

‘Season four’ – Solo adventures, then joined by Destrii

[ ] Where Nobody Know Your Name

[ ] The Nightmare Game

[ ] The Power of Thoueris!

[ ] The Curious Tale of Spring-Heeled Jack

[ ] The Land of Happy Endings

[ ] Bad Blood

[ ] Sins of the Father

[ ] The Flood

This season is collected as the Eighth Doctor Comics Strips volume 04. For the most part it shows the Doctor rebounding from his goodbye to Izzy (platonically, I see their relationship as paternal), kinda trying to find a new companion (he is pathetic in The Nightmare Game) and dealing with solitude. Then the story picks up when he is reunited with Destrii and they begin travelling together. It has a great Cybermen story.

INTO THE BOOKS

‘Season 01’ – Adventures with Sam

[ ] The Eight Doctors

[ ] Vampire Science

[ ] The Bodysnatchers

[ ] Genocide

[ ] War of the Daleks

[ ] Alien Bodies

The Eight Doctors is a terrible first book, just skip it and start with Vampire Science – which is much better. There is a certain character there who was supposed to be Grace but then they couldn’t use her because of copyright and I do think knowing that gives an interesting perspective to the book. Alien Bodies (great, too) starts a story arc about the War in Heaven. Or, simply put, a much more engaging time war done in the books years before the TV series ever thought about it.

‘Season 02’ – Continued adventures with Sam

[ ] Kursaal

[ ] Option Lock

[ ] Longest Day

[ ] Legacy of the Daleks

[ ] Dreamstone Moon

[ ] Seeing I

‘Season 03’ – Continued adventures with Sam

[ ] Placebo Effect

[ ] Vanderdeken’s Children

[ ] The Scarlet Empress

[ ] The Janus Conjuction

[ ] Beltempest

[ ] The Face-Eater

‘Season 04’ – Adventures with Sam and Fitz

[ ] The Taint

[ ] Demontage

[ ] Revolution Man

[ ] Dominion

[ ] Unnatural History

[ ] Autumn Mist

[ ] Interference – Book One: Shock Tactic

[ ] Interference – Book Two: The Hour of the Geek

‘Season 04’ – Adventures with Fitz and Compassion

[ ] The Blue Angel

[ ] The Taking of Planet 5

[ ] Frontier Worlds

[ ] Parallel 59

[ ] The Shadows of Avalon

[ ] The Fall of Yquatine

[ ] Coldheart

[ ] The Space Age

[ ] The Banquo Legacy

[ ] The Ancestor Cell

‘Season 05’ – Exiled on Earth

[ ] The Burning

[ ] Casualties of War

[ ] The Turing Test

[ ] Endgame

[ ] Father Time

[ ] Escape Velocity

Following the ending of The Ancestor Cell, there is this smaller story arc with the Doctor stuck on Earth for plot reasons I will not elaborate because I don’t want spoil it too much.

‘Season 06’ – Adventures with Fitz and Anji

[ ] EarthWorld

[ ] Fear Itself

[ ] Vanishing Point

[ ] Eater of Wasps

[ ] The Year of Intelligent Tigers

[ ] Dark Progeny

[ ]  The City of the Dead

[ ] Griim Reality

[ ] The Adventuress of Henrietta Street

‘Season 07’ – Continued adventures with Fitz and Anji

[ ] Mad Dogs and Englishmen

[ ] Hope

[ ] Anachrophobia

[ ] Trading Futures

[ ] The Book of the Still

[ ] The Crooked World

[ ] History 101

[ ] Camera Obscura

[ ] Time Zero

‘Season 08’ – Continued adventures with Fitz and Anji, joined by Trix

[ ] The Infinity Race

[ ] The Domino Effect

[ ] Reckless Engineering

[ ] The Last Resort

[ ] Timeless

[ ] Emotional Chemistry

[ ] Sometime Never…

‘Season 09’ – Adventures with Fitz and Trix

[ ] Halflife

[ ] The Tomorrow Windows

[ ] The Sleep of Reason

[ ] The Deadstone Memorial

[ ] To the Slaughter

[ ] The Gallifrey Chronicles

INTO THE AUDIOS – THE MAIN RANGE ERA

‘Season 01’ – Adventures with Charley

[ ] Storm Warning

[ ] The Sword of Orion

[ ] The Stones of Venice

[ ] Minuet in Hell

[ ] Solitaire

[ ] If I Should Die Before I Wake

The Eighth Doctor joined Big Finish a little bit after Doctors Five to Seven, but it was still quite early when their main releases were ‘just’ a monthly two-hour long story in the style of the classic series. We call this range of releases the Main Range. As the current Doctor at that point, having McGann back in the role was obviously a novelty and he was instantly joined by India Fisher as Charlotte Pollard, Edwardian adventurer.

Solitaire and If I Should Die Before I Wake are not main range releases but I do think they fit tonally well enough with theses stories and therefore I don’t think there is any problem listening to them here.

‘Season 02’ – Continued adventures with Charley

[ ] Invaders from Mars

[ ] The Chimes of Midnight

[ ] Seasons of Fear

[ ] Embrace the Darkness

[ ] The Time of the Daleks

[ ] Neverland

[ ] Zagreus

This finish the story arc of Charley’s life as was set up in Storm Warning. It all culminates in Zagreus, which is also a 40 years anniversary story of the series. Romana and Leela, former companions of the Fourth Doctor, reappear at the end of this arc and their interaction starts a spin-off just about them in Gallifrey – a series also called Gallifrey. I will not elaborate on it in this post, but let it be noted it happens.

‘Season 03’ – Adventures with Charley and C’rizz

[ ] Scherzo

[ ] The Creed of the Kromon

[ ] The Natural History of Fear

[ ] The Twilight Kingdom

[ ] Faith Stealer

[ ] The Last

[ ] Caerdroia

[ ] The Next Life

Also known as the Divergent Universe arc. It continues at the point Zagreus ended, with Doctor exploring a brand new universe – but there is something disturbingly wrong there. He and Charley are joined by a new companion from this universe, C’rizz.

‘Season 04’ – Adventures with Charley and C’rizz

[ ] Terror Firma

[ ] Scaredy Cat

[ ] Other Lives

[ ] Time Works

[ ] Something Inside

[ ] Memo Lane

[ ] Absolution

[ ] The Girl Who Never Was

The end of this era of Eighth Doctor audios. A goodbye to C’rizz, but a see you soon for Charley. There is a huge cliffhanger at The Girl Who Never Was that is continued on later releases – look at ‘beyond the Eighth Doctor’ if you wanna know about that, but ONLY if you are fine with being SPOILED. Again: THERE ARE SPOILERS THERE.

More from Charley and Eight

‘Season 01’ – The Further Adventures of Charlotte Pollard

[ ] The Mummy Speaks

[ ] Eclipse

[ ] The Slaying of the Writhing Mass

[ ] Heart of Orion

Specifically, this was one single released of four one-hour long stories that are set during the first story arc of Charley in the Main Range. So, certainly before Neverland but you could argue about the when specifically. I like to put it between Minuet in Hell and Invaders from Mars. But why didn’t I put it there, then? To be honest, it’s because I don’t think they fit tonally with the Main Range adventures and therefore it will break immersion if listened then. They are much, much closer to the new who style and just don’t capture the era, for me. So, listen to them as an extra to Charley story, when you miss her.

‘Season 02’ – Adventures with Charley and Audacity

[ ] The Devouring

[ ] The Great Cyber-War

[ ] Twenty-Four Doors in December

[ ] The Empty Man

[ ] Winter of the Demon

2023 saw the Doctor being joined by a new companion, lady Audacity. The first release, which included the first stories in this season, had a cliffhanger that placed them as the Doctor was still travelling with Charley, in their earlier days. So this is also a season that happens during the first story arc on the Main Range, but I wouldn’t place it there because not only it’s still happening, being published, but also because it’s better if you listen to it as its own thing already having the knowledge of how Charley’s story originally developed.

Beyond the Eighth Doctor

‘Season 01’ – Adventures with Charley

[ ] The Condemned

[ ] The Doomwood Curse

[ ] Brotherhood of the Daleks

[ ] Return of the Krotons

[ ] The Raincloud Man

[ ] Patient Zero

[ ] Paper Cuts

[ ] Blue Forgotten Planet

I already WARNED you of the SPOILERS. So, at the end of The Girl Who Never Was, the Eighth Doctor and Charley are separated. He thinks she chose of leave him, and she thinks that he is dead. She is isolated in a terrible situation and sends a distress signal, hoping that someone will rescue her. A TARDIS arrives and she thinks Eight is alive and came for her, but when she enters, she finds an unexpected face – the Sixth Doctor. And they would have a handful of adventures together, as listed here.

‘Season 02’

[ ] The Lamentation Cipher

[ ] The Shadow at the Edge of the World

[ ] The Fall of the House of Pollard

[ ] The Viryan Solution

But Charley story doesn’t end with Six. They do eventually part ways, as told in Blue Forgotten Planet, but Charley got her own spin-off that continues from there. There have been two seasons since then, but the story is unfinished: there is a third series that should be released at some point to wrap the story but we haven’t gotten any news from it for a long, long time.

‘Season 03’

[ ] Embankment Station

[ ] Ruffling

[ ] Seed of Chaos

[ ] The Destructive Quality of Life

THE CLASSICALS

‘Season 00’ – Adventures with Mary Shelley

[ ] The Company of Friends

[ ] The Silver Turk

[ ] The Witch from the Well

[ ] Army of Death

The Company of Friends is a ‘special’ Main Range release as it’s the only audio story that features the Eighth Doctor exclusive companions from other medias. It’s four half-a-hour story: the first with Benny, former companion of the Seventh Doctor. The second have Fitz and the third have Izzy. And then there is the fourth one, that shows the Eight Doctor meeting Mary Shelley. She wasn’t a companion, but would soon become one as a trilogy featuring their travels together would be released in the Main Range.

These stories happened before Eight meets Charley and honestly could be listened at any point, but I put them here, after Charley, because I do think it’s a better experience to enjoy the Eighth Doctor main range era in the order the stories were published.

INTO THE AUDIOS – THE LUCIE MILLER ERA

Beginning 2006, it all changed for Eight. His stories were probably the most popular of the Main Range – much because of the novelty of exploring the Doctor that never had anything on TV – and so he got his own range. The Main Range was now only for Doctors Five, Six and Seven, and ‘The Eighth Doctor Adventures’ began. But it was also 2006, Doctor Who was back on TV. And much because of that, this era is structured more alike to a new who season than classic.

You can jump into this era without any prior knowledge of the Eighth Doctor if you want to.

‘Season 01’ – Adventures with Lucie

[ ] Blood of the Daleks [two-parter]

[ ] Horror of Fang Rock

[ ] Immortal Beloved

[ ] Phobos

[ ] No More Lies

[ ] Human Resources [two-parter]

Notably, Horror of Glam Rock starts a ongoing arc through the seasons about Lucie’s aunt Pat.

'Extras Season’ – Continued adventures with Lucie

[ ] The Dalek Trap

[ ] The Revolution Game

[ ] The House on the Edge of Chaos

[ ] Island of the Fendahl

This was actually a release called The Further Adventures of Lucie Miller, four one-hour stories that makes a small season. It fits the tone of the era very well and it happens relatively early in her timeline, so if you want to listen to it between seasons 1 and 2, you can. The finally feature the Fendahl, a villain from Classic Who, so it’s a good idea to check out Image of the Fendahl from the Fourth Doctor era if you want more context.

‘Season 02’ – Continued adventures with Lucie

[ ] Dead London

[ ] Max Warp

[ ] Brave New Town

[ ] The Skull of Sobek

[ ] Grand Theft Cosmos

[ ] The Zygon Who Fell to Earth

[ ] Sisters of the Flame/The Vengeance of Morbius

The Zygon Who Fell to Earth is part of the aunt Pat story arc. The finale features Morbius, a villain from Classic Who, and it’s a good idea to check the Fourth Doctor story The Brain of Morbius if you want more context.

‘Season 03’ – Continued adventures with Lucie

[ ] Orbis

[ ] Hothouse

[ ] The Beast of Orlok

[ ] Wirnn Dawn

[ ] The Scapegoat

[ ] The Cannibalists

[ ] The Eight Truths/Worldwide Web

There are plenty of villains from Classic Who this season. You don’t need to watch any of their original stories to understand theses audios, and this is valid for the previous seasons too, but as I said if you want more context… You can watch The Seeds of Doom, The Ark in Space and Planet of Spiders.

‘Season 04’ – Adventures with Lucie and Tamsin

[ ] Death in Blackpool

[ ] An Earthly Child

[ ] Situation Vacant

[ ] Nervermore

[ ] The Book of Kelis

[ ] Deimos/The Resurrection of Mars

[ ] Relative Dimensions

[ ] Prisoner of the Sun

[ ] Lucie Miller/To the Death

Lucie’s era ends with a bang. Death in Blackpool is a Christmas special that wraps up the aunt Pat storyline. In An Earthly Child, the Doctor is reunited with someone from his past. Then, the rest of the season deals with Lucie and Eight’s friendship and how they are dealing with everything that happening recently, while also introducing new companion Tamsin Drew.

INTO THE AUDIOS – THE BOXSETS ERA

With the end of Lucie’s era, the publishing format shifted again. Now, the stories were released four at a time, as a boxset. These stories also build up bigger arcs, in sixteen parts, and therefore should be listened sequentially: Dark Eyes, Doom Coalition, Ravenous and Stranded. You can jump into the Eighth Doctor audios with Dark Eyes, but it’s better appreciated after listening to Lucie’s era.

‘Dark Eyes’ – Adventures with Molly and Liv

[ ] The Great War

[ ] Fugitives

[ ] Tangled Web

[ ] X and the Daleks

[ ] The Traitor

[ ] The White Room

[ ] Time’s Horizon

[ ] Eyes of the Master

[ ] The Death of Hope

[ ] The Reviled

[ ] Masterplan

[ ] Rule of the Eminence

[ ] A Life in the Day

[ ] The Monster of Montmartre

[ ] Master of the Daleks/Eye of Darkness

Liv Chenka is a character introduced in Robophobia, a Seventh Doctor story that you can listen to if you want more from her, but isn’t necessarily needed here. It’s good, though. She didn’t become a companion until reuniting with the Doctor, this time Eight, here in Dark Eyes. This season explores a temporal conflict between the Daleks, some Time Lords and an enemy from the future, the Eminence. It’s not part of the Time War, tho.

‘Doom Coalition’ – Adventures with Liv and Helen

[ ] The Eleven

[ ] The Red Lady

[ ] The Galileo Trap

[ ] The Satanic Mill

[ ] Beachhead

[ ] Scenes from her Life

[ ] The Gift

[ ] The Sonomancer

[ ] Absent Friends

[ ] The Eighth Piece/The Doomsday Chronometer

[ ] The Crucible of Souls

[ ] Ship in a Bottle

[ ] Songs of Love

[ ] The Side of Angels

[ ] Stop the Clock

Molly’s story wraps up during Dark Eyes, but Liv goes on a companion. She is then joined by Helen, introduced here in The Red Lady. This season is full of time lord political conflicts and if you have watched New Who you’ll notice River Song is a recurring character.

‘Ravenous’ – Continued adventures with Liv and Helen

[ ] Their Finest Hour

[ ] How to Make a Killing in Time Travel

[ ] World of Damnation/Sweet Salvation

[ ] Escape from Kaldor

[ ] Better Watch Out/The Fairytale of Salzburg

[ ] Seizure

[ ] Deeptime Frontier

[ ] Companion Piece

[ ] L.E.G.E.N.D.

[ ] The Odds Against

[ ] Whisper

[ ] Planet of Dust

[ ] Day of the Master

This season deals with a terrible fairy tale from the Time Lord’s past that seems to be real. Liv reunites with her sister Tula in Escape from Kaldor, and then spends one year with her before the Doctor and Helen pick her back. This is que start point to a spin-off, The Robots, which explores focusing on her and Tula during that one year. I will elaborate on it later on.

‘Stranded’ – Continued adventures with Liv and Helen, joined by Tania and Andy

[ ] Lost Property

[ ] Wild Animals

[ ] Must-See TV

[ ] Divine Intervation

[ ] Dead Time

[ ] UNIT Dating

[ ] Baker Street Irregulars

[ ] The Long Way Round

[ ] Patience

[ ] Twisted Folklore

[ ] Snow

[ ] What Just Happened

[ ] Crossed Lines

[ ] Get Andy

[ ] The Keys of Baker Street

[ ] Best Year Ever

Stranded picks up where Ravenous ended: the TARDIS have been damaged and now the Doctor, Liv and Helen are stuck for one year on Earth while it heals. And so, they start their lives in a house the Doctor used to own in Baker Street, but are met by unexpected neighbors. This season starts very slice-of-live/sitcom-like, kinda, but then evolves in a temporal conflict.

‘Season 05’ – Continued adventures with Liv and Helen

[ ] Paradox of the Daleks

[ ] The Dalby Spook

[ ] Here Lies Drax

[ ] The Love Vampires

[ ] Albie’s Angels

[ ] Birdsong

[ ] Lost Hearts

[ ] Slow Beasts

It’s the current era. Big Finish is still releasing Liv and Helen stories, but they are not the only ongoing story arc for Eight (see: Audacity; and the Time War). However, things changed a bit. They are still released in boxsets – with three one-hour stories rather than four -, but there is no sixteen-parts epic anymore. They are just standalone stories that starts where Stranded ends.

Spin-off – The Robots

[ ] The Robots of Life

[ ] The Sentient

[ ] Love Me Not

[ ] The Robots of War

[ ] Toos and Paul

[ ] Do No Harm

[ ] The Mystery of Sector 13

[ ] Circuit Breaker

[ ] A Matter of Conscience

[ ] Closed Loop

[ ] Off Grid

[ ] The Janus Deception

[ ] The Enhancement

[ ] Machines Like Us

[ ] Kaldor Nights

[ ] Force of Nature

[ ] Face to Face

[ ] The Final Hour

As I said in the Ravenous section, there is a spin-off about Liv reuniting with her sister Tula that is set during Escape form Kaldor. They are both from Kaldor, a planet from the Classic series, and to better appreciate what this spin-off is doing I recommend watching the Fourth Doctor story The Robots of Death. And, why not, listen to Robophobia, which itself is a sequel to The Robots of Death.

INTO THE AUDIOS – THE TIME WAR

And of course, we have stories with Eight set during the Time War. We can divide it into eras: the first four boxsets, when he is travelling with the new companion Bliss; and the current releases, with him travelling with Alex – listen to Lucie Miller season 4 for more context – and Cass. Yes, Cass from the Night of the Doctor. How that’s possible given the circumstances of that story have not yet been fully explained, but of course it’s safe to assume it’s the War’s fault.

‘Season 01’ – Adventures with Bliss

[ ] The Starship of Theseus

[ ] Echoes of War

[ ] The Conscript

[ ] One Life

[ ] The Lords of Terror

[ ]  Planet of the Ogrons

[ ] In the Garden of Death

[ ] Jonah

‘Season 02’ – Continued adventures with Bliss

[ ] State of Bliss

[ ] The Famished Lands

[ ] Fugitive in Time

[ ] The War Valeyard

[ ] Palindrome

[ ] Dreadshade

[ ] Restoration of the Daleks [two-parter]

The Valeyard is a villain from Classic Who. You’ll get more out of The War Valeyard with more context – so watch season 23, Trial of a Time Lord, or simply know that he is a “version” of the Doctor from the future that encapsulates everything bad and evil that exists in the Doctor.

‘Season 02’ – Adventures with Alex and Cass

[ ] Meanwhile, Elsewhere

[ ] Verpertine

[ ] Previously, Next Time [two-parter]

[ ] Nowhere, Never

[ ] The Road Untravelled

[ ] Cass-cade

[ ] Borrow or Rob

OTHERS

The stories ‘Day of the Vashta Nerada’, ‘The Sontaran Ordeal’ and ‘The Silent Priest’, all of them featuring monsters from New Who, are set during the Time War. However, the Doctor is travelling alone and they are all standalone stories.

There are plenty of ‘short trips’, short stories set in the Doctor Who universe, featuring the Eight Doctor. Both in prose and in audio. I did not include them in this guide, and they are not really essential, but they can be good. So, listen or read them if you ever miss a companion or the Eighth Doctor.

ABOUT THIS GUIDE

I will be updating the guide as new stories are released. I will also do one for each classic Doctor, at least, at some point.

[violent-darkness]

It's time for my random thoughts regarding season 4 in no particular order:

The ending made me sad. It looks like the bad guys are winning. The Boys are separated and captured for the most part. And on top of that we have to wait at least two years for the last season. So it's two years with the knowledge that they are in a bad situation. At least everyone is alive (so far).

As I already mentioned this was the season of suffering for me. Every single character went through hell. This makes me all the more happy for Frenchie and Kimiko's story. I was desperate and confused about them the whole time. I have always envisioned their story as involving romance. I was wondering throughout the whole season what is going on. So when they kissed in the final episode I was overwhelmed with joy.

Another positive moment is Kimiko finally speaking (albeit only one word). I was waiting on this moment to happen for so long that when it actually happened I almost didn't register it, lol.

Contrary to what some people seem to think I don't see Butcher as having turned into a villain or on a path of no redemption. I mean it was always his agenda to end all supes and he has always hated them all. Let's not forget that Hughie ended Translucent after all. He didn't kill anybody else in that scene besides Victoria. Not even her daughter and he was totally capable to do so. And let's be honest Victoria wasn't exactly innocent – she executed the attack at the congressional hearing among other things.

Hughie really suffered this season. I as many others am also not particularly happy about how they portrayed the sexual abuse against him, although not entirely outraged tbh. The finger in the butt stuff was absolutely tmi for me and now I can't stop thinking about it every time I see his character on screen, lol. Everybody has some preferences I guess and I am the last person to judge, just look at the fics I enjoy.

I may be a bad person but I am so happy that Grace Mallory is dead. She totally deserved it. She has been annoying me almost since the beginning, but s3 and s4 were the peak of it. Ryan had every right to defend himself.

I am curious to see what will happen with Ashley. They kinda left us on a cliffhanger there.  

I have never been a huge Starlight fan. She has always been a bit annoying to me (sorry). But her story got a tad bit more interesting this season. Turns out she is not such a saint after all.

So yeah I am curious how Butcher's story will develop. It's almost certain death for him, but there may be also some attempt of a redemption arc, I don't know. Perhaps something to do with Ryan and a scene between the two of them and an internal fight to reject Kessler. We'll see.