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

[committingwarcr1mes]

unpopular opinion: i really love caitlyn in her military dictator era

i started to love her in a REAL WAY just right now. i won't be one of those who's like "i only love season 1 caitlyn" or "i miss the old cait so i'm gonna be delulu and tryina find smth good deep inside her" FUCK NO. her arc is a masterpiece and we really needed children of propaganda to be portraited as they REALLY are. cait is kinda like azula at this point, she was raised in a noble powerful family with idea of people of zaun being an enemy, unworthy, inferior. though at the beginning she had that idealistic hope for different people being different, etc, the result of propaganda is that all those piltover ideas went deep inside her and took root. two shocking events (her mother's death, the attack in 2x01) were enough for this hope to die and everything evil put into her for all these years to grow up and reveal. that is how propaganda works. she had a direct confirmation (not the only one actually) of everything she was told about zaun, so what was she supposed to do? irl people rarely can keep kindness and tolerance and whatever in their hearts after they survived some kind of traumatizing shit.

cait's anger on jinx is justified. like i know that jinx is also understandable here, piltover is guilty for her parents' death and cait is an enforcer which equals evil diabolical creature in her mind, but some people forget that they BOTH watch it from their own perspectives only. cait thought of herself as someone who actually cares of innocent people and wants to bring peace, she didn't mean to hurt jinx on a personal level, and yet jinx kidnapped her, almost got killed and then exploded the council so there her mother died. the problem is that cait put her anger on jinx to the whole zaun, and this is, AGAIN, how propaganda works.

cruel, harmful intentions now will get stronger and stronger in her. for me the scene where isha protected jinx by standing between her and vi and cait still wanted to shot jinx is exponential. vi was like "she's a child" and cait was "i was gonna hit JINX", but actually every shooter, no matter how skillfull they are, knows that there is always a chance to miss. cait knew it, she knew she could kill an INNOCENT child, and yet she was ready to risk. so there was a moment when her idealism died and the results of propaganda start blooming. further will be worse. and this is amazing.

though i'm totally on zaun's side, caitlyn's character development is so realistic, so magnificent, and i'm just in love. she's so well written character at this point, and i hope she won't get a redemption arc or smth like that, it will ruin her, so let her die as a dictator if you need to, but not try to fix my villainous wife 🖤

military dictator aesthetic fits her so well btw

[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.

[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???

[bonefall]

Bones Bones Bonesss wc Star full book spoilers already out in the wild (forums)......... Looking forward to your thoughts when it officially comes out (or whenever!) cause. I will not say. But ohhhhhh it sure was a book............ :33

You know I'll also be doing a full read when I get my grubby paws on a copy, but I do have some strong feelings assuming that the leaks are totally accurate!

The no-spoiler version of my opinion; BOY this ending is a stinker. This arc truly was a blundering mess of lost potential and wasted time. As someone who still feels the first few books were STRONG setups, from 3 onwards I feel like I've been watching a train run out of track and derail in a slow, pitiful fashion.

It's not even a FAST trainwreck. The ending was predictable insofar as they clearly had no good climax or message in mind. Infact it's kind of a marvel how utterly bloodless this arc was, and how any violence they DID show came out of left field because they failed to build up to it.

HOWEVER. I am not just a reader, I'm a scavenger. This stuff is GREAT for BB. The ending gave me the most important pieces I need, and now I know how BB!ASC is going to rework it.

But I'll not get ahead of myself; quickly, I'll just talk raw first impressions of the spoilers.

(As always, take this with a grain of salt and the knowledge that the spoilers may be incorrect. Opinions may change once I read the book myself.)

Splashstar is a garbage villain. He is absolutely bottom-tier for me.

His "amorality" comes out of nowhere and quite frankly he reads like a Chick Tract Evil Atheist.

I don't get how people can accept the way the characters call him "manipulative" when his plots are utterly brainless.

He is the type of naunceless evil that makes me want to hurl. Splash reads like a writer trying to "repeat" the evil of Tigerstar without any of the intelligence of early TPB.

Tigerstar was a RESPECTED warrior. He leveraged his standing in the Clan to secretly carry out his assassinations and forge alliances. He was established strong to begin with.

Splash is like cat-18 and able to kill-no-miss strong warriors with his Evil Jump, and then keeps the Clan in line by holding his siblings hostage.

It makes me not understand how he has ANY followers, because he has no consistent ideology or rhetoric.

Anything they did use (like claiming he'd make the Clans strong and saying tigerheartstar wanted to take over the whole forest or whatever) isn't consistent because they failed to establish these over the SIX BOOKS THEY HAD.

It feels like he was only a legitimate threat for like 2 out of 6 books

And then he's dead in chapter 13. Halfway through the story. Incredibly lame.

I want to reserve my judgement on the Frostpaw vs Splashstar battle, but it's absurd on its face. Harelight went down in 1 hit but Frostpaw musters all her strength to use his move and overcome him?

I have to see it first before I conclude if it's something I want to salvage though. Sometimes fights just come across better when you're reading them.

But on the note of battles, it's frustrating how bloodless this arc was. We started off with tigerHeartstar invading and occupying RiverClan-- yet we're looking at a total body count of 5, with one heart attack and one illness.

And speaking of deaths.

Whoever decided to give Berryheart a redemption death should get offscreen greencough.

UTTER shite. You have this whole arc with radicalization as a major theme, show Berryheart trying to brutally murder her in-law with a snake, grabbing at power desperately to the point where she CHANGED CLANS to be Splash's deputy, and decide that her ideal ending is "she would die for her baby :(((("???

Ffffuuuuuck yoouuuuuuuuuuuu

This is why we can't have good, nuanced villains, these writers trip over themselves the MINUTE they have a sad parent. It could never actually STAY about power or politics, they cant allow a parent to truly be willing to sacrifice their child for their own ends.

No matter how badly or violently they treated you, They're Still Your Parent. Hogwash. I'm sick to death of this thought-terminating cliche.

Being a parent does NOT automatically mean they'd die for you. They already did this earlier with Curlfeather, and the absolute insult it is to the theme of radicalization aside, having Berryheart repeat that sacrifical death cheapens hers.

Now it's not that CURLFEATHER is the one who would never go so far as to allow her daughter to die for her own ends, contrasting Berryheart. It's Just What Moms Do.

And furthermore if they were going to do a "redemption death," it REALLY sucks that they decided to have Berryheart refuse to kill Yarrowleaf and not FRINGEWHISKER.

It's not even indicative of GROWTH or RECONSIDERING HER BELIEFS or anything. She won't kill her SISTER.

It might have meant something to have a chance for revenge and refuse it, but nooooo. Yarrowleaf. My god. Yarrowleaf.

and don't @ me about Yarrow being ex-kin, they both joined and rejected it at different times.

All that said...

There are some things I like here!

Frostdawn and Whistlebreeze getting their names at the same time was really sweet. I like them a lot.

Sometimes a predictable choice is the right one. Icewing becoming leader is a good move. Icestar my beloved.

I'm personally excited to get to Icey's leadership ceremony in my own rewrite, the canon one was as fanservice-wanky as you'd expect of modern arcs but I LOVE rewriting those.

Though I would have preferred Froststar, I'm ok with this.

The fracturing of RiverClan is a great move. I love the idea of there being a mass exodus following these events. It's wild we haven't gotten that before.

While I bemoan the awful politics and lack of setup, I do LIKE the idea on paper of there being "ex-Splash Supporters" to cause problems in future arcs. Not that these writers know what setup and payoff is, but hey, more for me.

I liked the sort of desperate feel of Frostpaw being exhausted in StarClan and deciding if she wants to go back or not. Im a little iffy on how much other cats PRESSURE her, though.

I need to read the chapters myself but I fear that it might not read like her own choice, but another thing that she's being forced into.

Shut UP Tree why are you HEREEE

The part where they all point out that without her, RiverClan wont have a holy messenger and that's bad, fits the consistent way the writers try to portray StarClan as a good thing when they're really not... but.

I think it would have made a fascinating moment for Frosty to realize that SHE is the one who really holds the power in this situation. What spirituality is going to look like in the future of her Clan is in HER paws now.

They are absolutely going to toss this potential away, but I guess the things I like most about the ending are the ways it kinda softly threatens the status quo.

The fracture of RC and the exodus of cats, Frostpaw deciding she will return and fix RiverClan, Icestar accepting help from the other Clans to fix the camp...

It's not ALL bad, it's just that the negatives outweigh the positives and this is exactly the kind of ending I feared. I hope that this isn't just a tease of a change to the status quo, but I've learned to not get my hopes up.

And, lastly, Owlnose deputy and Nightheart's ending chapter are just straight up beyond parody. I can't even be mad, they're such bad moves they're funny to me at this point.

[justanerddummie]

You know what, after all the talk about Caitlyn tyrant arc I cannot unsee all the parallels between her and Silco.

It always left me a little baffled how Cait was one of the few character who didn't have a clear parallel with another one, yes, there's Grayson, there's Jinx and even Marcus if you will, but at least to me they never quite clicked right. But when you overlap Silco and Cait, the amount of shit they do the same is insane, especially with all the new stuff from s2.

It's not about her simply becoming a villain, it's like a circle with Caitlyn moving forward to reach the point of no return and Silco going backward after reaching the point of no return, meeting just for a moment - at the mad tea party - having different directions.

But let's start from the beginning.

We have a bunch of scenes where we see Silco tell Jinx about how he used to be different, how he had to cut out the part of him that made him soft in order to become the leader of the undercity and at the same time we get to see Caitlyn's entitled ass dissolve as her heart of gold starts making appearances, like when she refused to kill Sevika or when she gave her rifle away for Vi without batting an eye as she starts trusting Vi more and more considering how she just exchanged her only weapon for shimmer to cure Vi. Then in the other episodes they both come clean about the real reasons they are in the undercity and they start really trusting each other, two peas in a pod, just like Vander and Silco back in the day.

But then in oil and water during the rain scene when Vi leaves Cait, I think we can see the first the first seed of betrayal being planted, it's the you don't believe in me anymore, which I think can be connected to when we see Vander strangle Silco, I think that scene is supposed to go after the bridge scene in ep3 it's the aftermath of the battle with enforcers and I can totally see Silco refusing to give up on the dream of Zaun and Vander seeing no other option but to kill him in order to protect his people. I know it's a long stretch but as for Vi and Cait the rain scene is the first rift, for Silco and Vander the scene at the river is the last straw, it also ties very well with Silco being handed Zaun on a silver plate in exchange for the last piece of his heart and refusing (Cait is still not there but I think there will be something like this in s2 at the very end) just as Cait is taking the first steps into not trusting Vi.

(I'm trying to talk about how I see Caitlyn's point of view and not trying to blame Vi, I really do think that Vi had every right to make that decisions in that moment)

And then there's the mad tea party, that in no way can even be compared to the scene on the bridge in ep3 but I would still say that I think Caitlyn has processed the tea party in a similar way Silco has processed the bridge scene and what came after, the betrayal of the people they trusted the most as they watched their respective loved ones die one by the hands of the enforcers and the other by the hands of Jinx.

And as Silco's rage grew he wanted another fight with Piltover and Vander stopped him, Vi stopped Cait from taking the shot on Jinx, making that little seed of betrayal bloom and grow a little.

So by the end of s1 we see Cait is almost in Silco's starting point as he has completed his lap of the circle.

And now I dive into the more speculative section of this long-ass rant, where I'd like to put to comparison Silco's deal with Singed with Cait's alliance with Noxus. And for as much as it pains to admit it, I don't think Cait will fall for Ambessa manipulation, she's too smart, I think that she'll sacrife her morality to achieve what she's set herself up to, same way as Silco did with shimmer. The base violence for change.

I really do think that the similarities will get way stronger in s2 with the seeds of betrayal blooming by the end of s1 especially considering how both Silco and Cait's story revolve around taking control and in a certain way becoming the leaders no one asked for.

They both never wanted to be leaders as Silco was more than happy to let Vander be the face of revolution and Cait couldn't give less of a fuck about politics and spent most of the time in s1 trying to not start a war between Piltover and Zaun and wooing Zaunites women.

But at the same time both of them never shied away from the power, they both kept their heads held high in the face of people who hated them, and both were always arrogant enough to believe they could change the world single-handedly.

With that I conclude this long-ass post both wanting s2 to come faster and dreading the moment it finally comes and honestly hoping that Cait's story doesn't end the same way as Silco did. With some form of redemption arrived a little too late.

[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!

[mymanyfandomramblings]

For TOH:

Which is your fav character?

What do you think of Belos as a villain?

How does TOH compare to Amphibia and Gravity Falls in how it handles it themes and character arcs?

What are some things TOH could have done better?

Which is your fav character?

Gus! Closely followed by Willow and then Hunter. Honestly, there's very few characters I don't like in this show.

What do you think of Belos as a villain?

He was a great villain, A+ villain design--he was powerful enough to prove a threat, intimidating in design, he had a sense-making motive, but not one that absolves his actions in any way. His defeat could have been done better (couldn't Hunter have been there, instead of Raine--as lovable as Raine is, they had zero thematic reason to be one of the very few characters at the final defeat scene), but Belos is a great villain for the themes.

How does TOH compare to Amphibia and Gravity Falls in how it handles it themes and character arcs?

TOH is a good show, but it is nowhere near as good as the other two shows with handling its characters. It's written as though Dana Terrace was afraid of ambiguity or giving good characters flaws/bad characters strengths. This isn't to say that all the good characters have no flaws, but the show seems scared of actually acknowledging those flaws.

Luz does have an external arc of going from 'naive girl who wants to learn magic' to 'less starry-eyed girl who is very good at magic', but her internal arc doesn't make as much sense--the show seems like it's deconstructing escapist fantasy at the beginning and Luz needing to have an arc about seperating reality for fantasy, but that kind of gets lost along the way, in favour of a 'you're perfect just the way you are and people just need to understand you' arc, and giving her quirks, instead of flaws. Similarly, Odalia is made into a cartoonishly evil character, so that Amity is absolved of all blame for the way she treated Willow, which I think does all three characters--Amity, Willow and Odalia--a disservice. Compare this to Amphibia, which pulls absolutely no punches when it comes to the main characters being horribly flawed and accountable for their actions, or Gravity Falls where the characters flaws very much drive the action, in a way that they don't in TOH.

The other way I think that GF and Amphibia write their characters and themes better than TOH is by making key character moments tie in with their themes. The best example to talk about this through is by comparing Anne's fake death to Luz's. Anne's entire arc has been about one main thing--learning to do the right thing instead of what is easiest--and her main character flaw from the beginning is that she prioritises her own comfort over doing the right thing for herself and for others. Anne sacrifices herself for Amphibia--doing something incredibly hard, but for other people, which is the perfect culmination of everything she's been learning. Luz's fake death results in her becoming the Titan's Chosen One, which contradicts the arc shaping up in S1 where Luz had to learn that there are no Chosen Ones and that the Boiling Isles aren't a fantasy world. To be totally clear, this does make sense as part of her arc--harnessing the power of the Titan is the final piece in Luz truly becoming a witch, but her entire arc is external. Her internal character doesn't significantly change over the course of the show, because it can't because her flaws are all written off as 'quirks' and the show's big thesis is that weird people should be able to be weird. (This is coming across as really complainy, I'm sorry. I promise that I genuinely really enjoyed the show.)

What are some things TOH could have done better?

Write the Blights better. Escaping Expulsion was the best episode for the Blight family dynamic, with Odalia being awful, but not cartoonishly evil; Alador having a conscience but also being a pretty checked-out and neglectful parent, and Amity seeming actually influenced by her mother's influence

On that note--let Amity take at least some accountability for the way she treated Willow

Put finding Phillip Wittebane's diary, Amity's hair-dyeing, and the first Lumity kiss in any episode other than one of the only Gus-centric episodes in the whole show

Allow characters to be more morally grey and let redemption arcs take some time

Reduce King's-ego-trip subplots by AT LEAST 50%. I didn't actually enjoy him all that much until Echoes From The Past because I found his whole trying-to-take-over-the-world shtick a little annoying

I think that's all

Once more, I actually really, really enjoyed the show and had a great time watching it, I just have lots of feedback

[casual-praxis]

Imagine a villainess isekai, but with a vidow twist

Got your attention? Great! So picture this, the plot of the Four Swords manga, but it's some dating sim-type game that's blown up in the modern world. In theory, you'd be playing as Zelda who managed to avoid capture and travel with the colors which are presumably still Link split into pieces.

Of course, you'd have your typical romance routes with each of them, on top of the neutral route which is more of a "power of friendship saves the day" type deal (as well as a "harem" ending that has them fuse back into Link by the end of it), all while dealing with Shadow as a recurring villain, our technical "villainess" in this scenario.

But here's the twist: Vio is the one who got isekai'd.

Instead of becoming the villain, he's become one of the four* love interests for the protagonist--although he's completely uninterested in her or any of the others. He'd actually only played through the game once in his previous life, and even then he didn't really remember if he managed to romance anyone, never mind finish the game.

He was pretty confused when he suddenly awakened his memories while standing in the Four Sword Sanctuary, having just successfully driven off Shadow for the first time with the others. And with that revelation came several thoughts in quick succession.

Namely, "Oh, that's why I never beat the game."

The villain, who had several moments of introspection and a fully fleshed-out character arc, hadn't been a romance option. Not even a dlc or secret route. Which in Vio's (totally not dramatic) opinion, made the game basically unplayable.

So of course he was going to have to fix that himself. Plot be damned, he was going to end up with Shadow or die trying.

Cue up the fourth-wall-breaking shenanigans and hilarity that ensues from someone not at all trying to blend in with the world around them. Vio quickly goes from being the "smart one" to the "unhinged one" as he mumbles to himself about event flags and route points.

He's got a whole notebook dedicated to the most nonsensical gibberish such as "how many times I've talked to x person" and "how long until chapter 4." When prompted about the tallies on the first page, Vio merely shrugs and says he's keeping track of their shadow. Whatever that means.

I like to think the forest scene would be pretty much reversed from the manga canon and instead have Vio be the pursuer. Like, he's just shaking Shadow by the shoulders and rambling. Something like, "I know everything about you and I will kill anyone you want me to. Please allow me to join you."

Shadow, of course, doesn't know whether to be flustered or freaked out, so he settles on the happy middle ground of "lowkey kinda into it."

Within the dating sim's original story, anyone Zelda was on the route for would be the one to meet with Shadow, and she would show up last minute to help fight him off (so no betrayal scene would ever occur). Meanwhile here, Vio takes the first chance he gets to bail on the narrative and begin his plans of total Shadow domination (take that as you will).

Vio ends up being more of a threat than Shadow, on account of his vague story knowledge and general lack of care towards anyone that isn't Shadow (if he's going to be put into a game's world, he's going to treat it as such). He's totally down for overthrowing the big bads, murdering anyone in his way, and ruling the ruined world at Shadow's side. But luckily, Shadow does still have his character development arc, and manages to negate the worst of the damage before it's unfixable.

Whether or not they switch sides or just keep doing what they're doing on a slightly less destructive scale is anyone's guess, I haven't thought that far ahead. This may or may not have been completely incomprehensible, Grammerly has lit the whole thing up in yellow (orange?).

Unrepentantly unhinged Vio is a good flavor. It pairs nicely with "somehow has the moral compass" Shadow. They're an odd pair, but as time goes on, it becomes pretty apparent that they're equally obsessed with each other. This can only end well.

[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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