#can you see i'm failing

[lupiinist]

wicked but lily is glinda and mary is elphaba, so the 'no one lies a lily on their grave' in the no one mourns the wicked song hits harder

[ilions-end]

i've noticed just how often achilles' dragging of hector's corpse is framed mostly as an act of extreme disrespect, or only some brutal show of triumph. personally i think that's underselling both achilles' intention and what the trojans must be thinking as they watch it happen.

hector's corpse is divinely protected so it can't be damaged by the greeks after death; all that effectively happens in the iliad is that his body gets dirty. but under normal circumstances (and i'm not gonna impose realism on mythology, but the iliad is famously detailed when it comes to bodily trauma), the physical reality of dragging a corpse along stony ground for miles would be severe disfigurement and dismemberment. first the skin would wear off, then soft tissues, then extremities would start to detach. i think the iliad's original audience would be aware of that as an intended outcome.

achilles (who doesn't yet know that hector's body has been granted divine stasis) doesn't just want to parade his enemy's corpse around, he wants to tear it apart ("i only wish that this fury inside my heart would drive me to carve you to pieces and eat your flesh raw..."), he wants it to not resemble a human anymore. he wants hector's blood and flesh to circle the city of troy. he wants to make it impossible for hector's family to gather the pieces of him to cremate and that way hector's spirit won't find passage into the underworld. that's what the gods are preventing from happening, they're not just keeping the corpse pretty for priam to pick up later.

[starcurtain]

I don't have the time at the moment to write a full essay but someone should definitely remind me to write a post later on the phenomenon that is Ratio's assholery being sanded away by well-meaning fans.

In a quest to fight against the "Ratio is a condescending jerk" stereotype from Ratio haters, pro-Ratio fans have now swung too far the other way, making him into a saint who loves everyone, isn't disdainful of failure, and believes every single person can equally pull themselves up out of mediocrity.

None of those things are actually true based on the game itself, where Ratio is, in fact, a judgmental person who struggles to accept the mundanity of those around him, believes in an educational elite, and can be exceptionally condescending, whether he means it or not.

He's a flawed character. His own flaws are absolutely central to his character, in fact. And yet none of his flaws preclude him from being meaningful, nuanced, and likeable.

It's okay that he's not actually that nice.

In defending a character from one extreme ("he's a bad person"), we don't have to jump all the way to the other side ("he's an angel").

He can be a little bit of a dick and still be a great character, promise.

[tricoufamily]

you saw her bathing on the roof her beauty and the moonlight overthrew you

[immult]

it's crazy to me that the only way you can fail the matron's test is by trusting your best friend or mother and caring for their plight. but not as crazy when you know they're a follower of the betrayer and a ruidusborn though, right?

imogen sounds so defeated when she asked if trusting her mother was bad. then imogen repeating the same again to the hells with this really helpless look. because the matron, a near-omniscient being, has written off her mother as something too rotten to be trusted.

"you know your mother best in the end" the way that does not change the fact that YOU have viewed her mother in the worst light. it's killing me but i have to love the consistent portrayal of the holy, at every level of the realm, putting the burden on others to find goodness or redemption in ruidusborns. but until proven otherwise they are personally fine with reducing ruidusborns to caricatures of an evil turncoat.

the matron of ravens was not there when the gods, despite luz/sarenrae's insistence to give it a chance, decided to distrust the rotten fruit and plucked it right off from its tree, setting off their own end.

[piko-rose]

My Personal Headcanon On Why Amy's Love For Sonic Died Down Lately (and their dynamic)

When they were younger, Amy's love for Sonic was pretty extreme, and Sonic was, understandable, uncomfortable for the most part. He knows she means well, but that girl needs to calm down.

She can fight, but sometimes her hammer could only stun her enemies for a while. (It took her a long time to get rid of that robot that has been chasing her around Station Square.) She wasn't fully independent yet, even if she fought on her own a couple of times.

She often follows Sonic and his friends around. She is part of the team, but she was not a strong as she is now at the time yet.

She admires Sonic. A LOT. And Sonic knows that. Obviously, he could only run away from something like that, since he is NOT ready for that kind of thing, and whether Amy takes the hint or stop, she still loves him.

...BUT, I think things were slightly starting to change between her and Sonic after Lost World.

Remember this line?

You remember that? Okay, okay. Here's another totally unrelated question:

Before the events of Lost World, when was the last time Amy said "I love you" to Sonic out loud?

...YEP. 😈 (Unless I'm missing something, let me know lmao)

As more games and adventures come out, the characters get slightly older, and Amy is 12 to 13 now, and she is most certainly at that age where her body starts to change, but especially on how she views Sonic.

She knows she loves Sonic, but it was this moment during her change where she actually wanted to admit that she loves him.

I believe that Amy was all about sharing her affection to him not through confessions, but through obvious hints. Sonic totally got it, and there was no need to confess. Sonic knows she loves her.

...But she never said it. And she almost did, but she never did again for a while.

I think this was the moment in her life where, oh, God, she actually loves Sonic. SHE LOVES HIM, WHAT.

And she was looking back at all the times she had with Sonic that she can now see were unpleasant to Sonic (At least that's what she thinks) and that's probably why she isn't so expressive about her love to him than how she used to back then.

She wasn't sure what to do with this realization, and sets aside it for a while, and nearly stayed as her casual, peppy self... until the Eggman War happened.

During the 6 months of being with the Resistance, fighting Eggman's army all day and all night, all she can think of was Sonic.

She dreams that he still with not just her, but with her friends. She just wanted to see Sonic again, she just wants to be with her hero again.

But I'd like to think that she was also thinking about how she used to treat Sonic back when they were younger, how Sonic would almost always run away from her whenever she asks him out, or always look so uncomfortable whenever she gets so close to him.

Cringing at those memories big time, she wanted to change and hopefully when Sonic is okay and comes back, she can be better for him.

...Or will he still find her uncomfortable regardless? Would he even be happy to see her at all if he did survive?

But, hold on! She can't just give up her love for Sonic! He made her who she is today! A peppy, nature-loving, hammer-swinging, confident, brave... loud-mouth... annoying... Sonic obsessed... weak... pathetic... lonely little girl.

If she gives up on Sonic, it'll be like she gave up on the one hedgehog who saved her life. If she didn't she'll still be the same ol' Amy.

I also like to think she had parents a long while before she met Sonic, and was even expecting a little sister, but a robot invasion happened from where she was and attacked her parents and instead of trying to save them, after getting hurt, she ran away, hoping that they'll come back okay. But they never did.

She was all alone, and needed someone, a friend, a new family, someone who will hold her hand, anyone, to be there for her. But she was ignored by lots, and at that point, she's better off by herself, but still longed for company.

Eventually though, her tarot cards told her her future hero, and there might be hope after all. She encountered Sonic, held onto the belief of the cards tight, and the rest is history.

So, with that headcanon in mind, not only did Amy loose her parents that she didn't save because of her cowardliness (she was only so little at the time that happened) and also Sonic, who she thought will be her only hope, but now gone.

She doesn't even care if he did come back, he'd probably hate her now after everything she did to him, always talking about their "future wedding" or forcing him to go to Twinkle Park.

For the last few months of the war, it was nothing but Amy mentally beating herself up for either refusing to change or moving on, and they are both not fine choices.

She loves Sonic, but he does not love her, and she finally, finally realized it. And it's probably for the best if no body loved her at all.

But of course Sonic did survive and all of her worries wash away in an instant, she's just not expressive about her love for Sonic AT ALL now, since she's still worried about it but rather not mention it to Sonic because it doesn't matter.

If Sonic doesn't love her, then her feelings don't matter to him, and according to Amy herself, that is okay.

But also, I'd like to think that Sonic was thinking about his friends a lot up in the Death Egg for the past months, sometimes it's Tails (worried for his safety), sometimes it's Shadow (because he's wondering why he would join Eggman.) At some point, for a few days, Amy was in his mind the longest, and he felt bad about how he thought he was rude and pushy to her.

He wondered if she's not thinking about it too much, and if she is, will she give up on him? Yeah, he doesn't feel the same and still not looking for a relationship, but it's so strange but interesting how anyone could ever like someone like Sonic the Hedgehog. Amy was never afraid to show that, and she probably might be now.

He couldn't help but feel guilty. They were kids when she was like this, but he was so... arrogant at the time too. Not a lot happened at the time yet. He'd always have trouble expressing how much he value his friends, until he shattered the Paradox Prism. (I'd like to think Prime took place before Forces. It makes sense.)

She is such a sweet girl, and he probably made her believe that he didn't care for her. Just because he doesn't feel the same, that doesn't mean he hates her at all.

He wished he never ran away from Amy... Worrying for his little bro and wishing to be a good person for Amy was when Sonic cried in the Death Egg for the first and only time.

Frontiers, in my opinion, is kind of confirming their dynamic now. Sonic is a lot more sincere and kinder to Amy and she is not all hyperactive and lovey to Sonic. There is probably a real reason for this now.

They are both hiding their feelings from them, and they are both unaware of this. Amy, hiding her mental issues from Sonic, and Sonic, hiding his guilt away from Amy.

None of those things are important now. Sonic is with Amy and Amy is with Sonic. They are here with each other. They can be finally be better for each other now.

They don't care if they'll ever be something more when they get older. None of that matters anymore. They are here with each other. They can be finally be better for each other now.

Maybe someday they'll both talk about it, but for now, the present is important. They care about each other too much to think about it right now.

It's the kind of love that is unbreakable. It doesn't even have to be romantic. It's just love. Love is important for everyone, in any form. It's something Sonic and his friends need. And especially Sonic and Amy.

Amy Rose is the living embodiment of love, and without her, a lot would go downhill for Sonic and co. Heck, if it weren't for her, Shadow wouldn't have never remembered Maria's promise, which lead him to save the world with Sonic, before he temporarily disappeared from their lives for a while.

She is always there to lend a helping hand for anybody, even bad guys like Metal Sonic, and despite what she had been through, both in Forces and headcanon wise, she still fights back, even without her hammer.

She will pick you back up on your feet, reminding you that you are important and that you are loved, and that you should never give up. It's pretty much the words of encouragement she herself needed also...

She is still the happy, hyper, butt-kicking hedgehog we all know and love, but she still need someone to pick her back up on her feet after so long. Thankfully, she has her friends and her blue hero. The hero who made her who she is today.

I think Amy has no idea how important she thought she is, but Sonic does. Sonic knows fully well how important she is to a lot of people. It's about time he returns the favor to her. It's his turn to remind her how much a lot of people love her.

How much he loves her.

And I feel like The Murder of Sonic the Hedgehog was the moment where their dynamic really shined, but also the starting point of their relationship not only healing, but also the next chapter of what's to come for them.

Everyone, friends old and new, gathered around for a special birthday. A birthday for the confident, unshakable, and radiant Amy Rose.

It was such a special moment in Amy's life. After years of chasing and following the people she look up to, she is part of the team, but most importantly, she is part of the family.

She is fully realized as someone more than just a fangirl, but someone strong, courageous, creative, kind and a big inspiration for others.

I feel like this moment here...

-is where Amy is eternally grateful to call her friends her family. A family she thought she'll never have again. She's not alone anymore, and as long as they're by her side, she'll never will be again.

Her chasing days are over. She's finally caught up to them. She's finally home.

And it's all thanks to Sonic.

If it weren't for him, she'd probably be alone forever. Her past moments with Sonic might be embarrassing to look back on for a while, but they are good memories regardless, because they involve him.

Sonic saved her life in more ways than one, and despite everything, he's grateful to have her too.

He cares about her. He really does... And in her eyes, that all she needed to know. As long as Sonic loves her in his own way, she'll be happy.

Amy hasn't given up on Sonic. As long as Amy always supports him, he'll be happy.

Maybe sometime in the future, they can talk about their problems, but that's a story for another time. At this point, they need to. Right now, they are happy. They are okay.

They are here for each other. They are finally better for each other now.

"You guys won't ever leave me, right?"

"Wouldn't dream of it."

[fictionadventurer]

I have a germ of a theory that good Christian fiction has stories that are less about shaving down your personality to meet some specific mold of what a good Christian looks like, and more about "how gloriously different are all the saints."

Not that the Christian life doesn't involve fighting against our own sinful nature and conforming ourselves to Christ-like behavior, but I think it makes for better, more realistic, and more universal stories when you also recognize that people have different gifts and flaws and they're going to be called to use their unique personalities to serve the kingdom of God in their own unique way, instead of assuming everyone has to conform themselves to a very specific (often secular-culturally based) image of good behavior. It makes for a much more vibrant story.

[residentialhomeowner]

a lot of people are using nex as a queer talking point without even mentioning they were choctaw and 2S. without even mentioning that this - harassment, assault, murder, disappearances, lies/indifference/denial about the circumstances of our death - is typical of the violence we face. not once have i seen non-native people address that we, as natives, face this same treatment within queer communities. that queer institutions use our land while declining to offer native-inclusive and -sensitive care. we suffer at the hands of white lgbt+ people just as much as we do at the hands of people outside the community.

nex is not your NB pariah. nex was a 2S, NB, choctaw child. thousands of native people go missing and are killed and no one cares. many are two-spirit. many are LGBTQIA+. many are "queer" in ways only defined and recognised by our closed cultures, that you may never hear of and may never understand.

if you are going to flock to nex, you are not going to take them from us post-mortem. they were choctaw. they were native. their tribal affiliation has already been falsely reported on. if you are talking about nex, you will talk about how unwelcoming and dangerous your communities are for us, too. you will talk about how natives face this violence constantly, everywhere. you will not remove nex from the context of them being choctaw, ever - or you won't say their name at all.

even when we die, you don't care about us. i am telling you to care about us if you want us to stop dying.

[bromcommie]

so I was digging through the Vast Legally Grey Junkyards of the Internet in search of better quality footage from AoU for my edits, specifically the scene with the CA FASCIST grafitti in Sokovia—which I unfortunately didn't find, but what I DID find was a bunch of deleted/expanded scenes that I didn't know/didn't care enough to pay attention to before. Which is fine. Most of it is techno babble and rushed plot setup. However. This stupid-ass ten second clip makes me literally insane. It makes me. Want to kill and maim and chew on the bars of my enclosure. And not in the sense that the contents make me oh-so-emotional, but because the potential of them could. Because what do you mean.

What do you mean those four and a half lines were cut for pacing/time when it's a ten second difference and the rest of the scene is in the film anyway. What do you mean you cut it because it didn't fit the narrative. It's literally couched in two minutes of plot it could've been so easy to slip it in there. A passing reference that would add at least a smidgen of depth to both the (already fucking incomprehensible) plot + politics of the antagonists, and to one of the main fucking characters. Like you were SO close what do you mean you cut every feeble attempt that was made to scratch the surface of Steve's character outside the whole nightmare scene we're supposed to feel so bad about what do you MEAN.

The fact that this minimal exchange—paired with that graffiti scene where Steve is confronted with the actual legacy of Captain America and what he's come to mean to people around the world and then quite physically discards the identity + him still circling back to the mantle at the end of the film anyway because he doesn't know how to do or be anything else, feels like he's too changed for this idea of a normal life that stems from before the war and the ice and doesn't know how to live without carrying that, without being useful in this one specific way—has more meat on its bones in the whole lead up to Civil War and ultimately Endgame than half of this movie's sledgehammer-over-the-head lines about home and family with Barton's kids laughing in the background or whatever like some fucked up C list hallmark movie is downright infuriating to me because like. You clearly thought about it. It passed through your head. You wrote some version of it into the scene. You shot it and edited it and watched it a few times and then you went "nah off it goes to the cutting room floor, we have enough of that. Add those seven and a half seconds to the 20-minute long, entirely CGI Hulk sequence, that we need more of. Surely that will fix the pacing issue".

Side note: this is me not even getting into the fact that, at this point in the franchise, this would have been one of the few lines we'd get of Maria actually saying something or interacting with anyone in a way that is even marginally removed (which this barely is) from simply delivering plot information. This is the only time we kinda get her view on something or even an inkling that she used to be a goddamn intelligence agent. And how that history informs her view of the situation and how it could possibly clash with Steve's own. And that woman is in every fucking movie. (Not to mention the fact that the two of them were just in a movie together, for Christ's sake, and going through something together you could pretty fairly characterize as traumatic and bond-inspiring to boot—and in AoU we can barely tell they even know each other. I mean the bar is so low and they still managed to limbo right under it.)

[miraculouslbcnreactions]

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

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

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

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

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

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

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

Character Establishment

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

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

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

Character Growth

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

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

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

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

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

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

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

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

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

Let's Talk About Chloe

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

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

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

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

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

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

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

And this confession from Antibug:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[yujeong]

Pete's fever wasn't going down. It wasn't really Pete's fault. He had started eating more regularly, even if slowly to not upset his stomach. (He didn't want to vomit his insides all over the duvet again. It hadn't been a pleasant experience.) He had started sleeping more, too, and even though it had mostly been accompanied by disturbing dreams and could be described as anything but nourishing, at least it was something. This wasn't really Vegas' fault, either. Well. It was. It was difficult to explain, and Pete didn't quite have the mental capacity or the patience to make Vegas understand why he hadn't magically healed in a day thanks to a bowl of noodles, a couple of pills and some bandages wrapped around his torso. In all honesty, that was a lie. Despite Pete's reluctance to admit it, he had been way more patient that he should have. More than he could sustain. Today, his patience seemed to be at its limit. Pete didn't let it show - he never did, he couldn't afford to, not even now - but he could feel it brewing under his skin. The urge to snap at an anxious Vegas hovering above him with blood-shot eyes and trembling limbs was big and tempting, but Pete knew better than to succumb to it. He simply closed his eyes and breathed in through his nose, trying to forget about it. Vegas, of course, wouldn't allow that. "Pete," he heard Vegas whisper. When he didn't respond, Vegas said it again, louder. "Pete. Hey, look at me." Pete did. "Do you not hate me?" Pete didn't answer. "Don't you want to kill me?" Pete sighed. He refused. H wouldn't give Vegas the satisfaction. "How would you do it?" This was starting to get irritating. "Vegas-" "Tell me, Pete. What would you do? Would you use your hands or a weapon?" Pete couldn't escape this. He realized when he looked at the pure desperation in Vegas' eyes. "I'm a bodyguard, aren't I?" he foolishly said, his voice breaking slightly. He lifted his head and stared at the ceiling. He could picture it; him wearing his uniform, blowing Vegas' brains out with his gun. The image brought him no satisfaction. Only a faint sense of dread he couldn't rationalize. Vegas' humming snapped him out of it. "Yes, I can see that. I can't imagine you using a knife, though." Pete felt slightly offended by that comment for some reason. "Why? Don't you think I have the guts?" "It's too... emotional a choice for you. You wouldn't use it to kill me." Right. Pete huffed in amusement. "I guess you're right. I'm not like you." This did the trick. Pete could feel the effect of his words, the hostility Vegas was emitting. It gave him goosebumps, despite the temperature of the room. The sound of the door closing harshly made him flinch, a racing heartbeat remaining for a while afterwards. It didn't bother him. He was finally left alone. It didn't matter if he'd manage to get better or not. If only Vegas could see that.

(A snippet inspired by a scene in the movie "Eileen")

[the-butch-of-blaviken]

hm. thinking about Geralt, Eskel and Lambert watching Vesemir doting on Ciri like the granddaughter he never had, going easy on her during her training when she asks for it politely, making a show of lecturing her when she's being mouthy when it's obvious to everyone he's already forgiven her. Lifting her off her feet and spinning her around when he sees her again for the first time in years. And all the while Vesemir's sons in every way except blood are watching and watching and thinking, so you were capable of being affectionate and considerate and a decent fucking human being all this time. You just chose not to be this man with us.

[ophiliaclement]

and all the light in the world converges on you.

[dogwaterdish]

I've elected to ignore 430 & midoriya losing OFA for good, the ending did not do my favorites justice so I am pretending it didnt happen forever - only thing I'll accept is midoriya becoming a teacher

[fallenwhumpee]

"An Hour."

• Masterlist •

Warnings: Hospital settings, aftermath of captivity, mentioned death.

Medic, despite what their job would suggest, wasn't a caregiver. They were just a mechanic working on circuits, not who carefully kept the whole mechanism running. They could fix people, but it was that. Someone would have to take over the aftermath.

Much to Medic's relief, Leader was a caregiver. A good one, even.

Too good, they lately noticed. Too good that it was starting to make Medic worried. But just like every other day, Medic knocked the infirmary door in exactly same time, before opening it fully. Youngest was asleep in the hospital bed - Medic had said Leader that it was unnecessary, but Leader  brought one anyway - and at last drops of their IV.

"An hour," Leader muttered. At this point it felt like a ritual. So, without a word, Medic moved and changed Youngest's IV to antibiotics as Leader deserted the room silently. Probably to sleep.

Good, Medic thought. Leader needed it.

Medic made their way to the armchair, only to see Leader's office keys on it. For a moment, they considered giving it back. They respected privacy, but they were also curious. For the last one month and a half, all Leader did was looking for Youngest, caring for Youngest or staying in their office. The first two was understandable, but the third...

Now Medic could learn whatever Leader was doing in their office.

Medic hesitated. They shouldn’t invade Leader’s privacy—Leader had done nothing to earn suspicion, at all. And Leader never broke anyone's boundries, so Medic doing it to them was just wrong. But something had been gnawing at the back of Medic’s mind for weeks now, something beyond the usual worry for Youngest. Leader’s behavior, so single-minded, so intense, felt wrong. So wrong for someone almost obsessed with making the future better. And if there was something in that office that could explain it...

Steeling themselves, Medic turned and walked down the hall to Leader’s office. The key slid into the lock with an ease that almost felt too simple. "Where's Leader?" Medic shouted. Leader's room was wide open and Leader wasn't there.

"Went for a quick walk," Right Hand shouted back.

Medic took a deep breath. "Okay," they muttered. With a simple twist, the door creaked open. Medic slipped inside, shutting it quietly behind them slowly. The room was dim, the only light filtering through the half-drawn blinds, casting long shadows across the walls. At first glance, it looked like any other office—neat, organized, professional. Just like how Leader liked to keep everything. Medic opened the lights.

Notes. Dozens of them, pinned to a board on the wall, scattered across the desk, and even taped to the edges of the bookshelves, almost creating a wallpaper. Most were in Leader’s precise handwriting, detailing locations, names, dates, and other pieces of information that, together, painted a picture out of a detective's office. Medic’s gaze was drawn to a map on the wall, marked with pins and red string connecting various points. They moved closer, recognizing the locations as places where incidents had occurred—break-ins, disappearances, attacks. All related to Youngest.

Their heart pounded as they picked up a file from the desk. It had a picture, the person's face partially obscured, but there was no mistaking who it was. Medic had seen that face around Whumper—one of the underlings of them. The person had been found dead two weeks ago, the cause still under investigation. There were detailed reports about them, autopsies, locations, biographies... informations that Medic doubted Leader had the authority to kno let alone storing.

They set the file down, their hands trembling slightly. Leader had been gathering evidence, but it wasn’t just about finding Youngest. It was about something more.

Another photo on the desk caught their eye. Medic took it, revealing more photos, more notes underneath. Some were crossed out, others highlighted. A list of names—people connected to the kidnapping—each one with a note beside it: confirmed dead, under surveillance, possible lead.

Some of these people were no longer a threat because they were dead. Was it coincidence, or had Leader...?

The sound of footsteps in the hallway snapped Medic out of their thoughts. They hurriedly closed the folder and placed thr picture back on the desk, glancing around to make sure everything was as they’d found it. The door clicked shut just as the office door opened.

Leader stepped inside, looking tired but alert. They froze for a moment, eyes narrowing as they stared in the sight of Medic standing in their office.

“What are you doing here?” Leader’s voice was calm, but there was an edge to it, a warning.

Medic tried to keep their expression neutral, forcing a casual shrug qs if they weren’t digging through the room for the last ten minutes. “You left your keys on the chair. Thought I’d drop them off.”

Leader’s gaze flicked to the keys in Medic’s hand, then back to their face. For a moment, neither of them moved. Then, slowly, Leader crossed the room, taking the keys with a nod.

“Thank you,” they said, their tone polite but distant. “Please wait for my return next time.”

Medic nodded, feeling the tension in the air like a physical weight. They turned to leave, but couldn’t help one last glance at the desk, at the folder now lying innocently on the surface.

Leader didn’t miss the look. “Is there something else?”

“No,” Medic replied quickly, shaking their head. “Just... take care of yourself, okay? You look like you haven’t slept in days.”

Leader’s expression relaxed, a smile so soft and tender taking over. “Don't worry. Byt you should get some rest too.”

How could Medic be suspicious of them when all Leader did was worrying and caring for the team? Shoving the guilt down, they forced a smile and left the office.

-•-

Later that day, Medic was in the break room when the news broke. The television mounted on the wall buzzed with static before the anchor’s voice cut in, somber and urgent.

“We interrupt this program with breaking news. Henchman, a key figure in the recent string of criminal activities linked to the late terrorist Whumper, was found dead earlier this evening. Authorities are investigating, but details remain scarce at this time.”

Medic’s blood ran cold. Henchman—another name on Leader’s list. Dead. Just like the others.

They stood frozen, the room spinning around them. The timeline didn’t add up. Leader couldn’t have done it—they had only left the office for ten minutes, not enough time to cross the city and back. But the coincidences were too many, too pointed.

When Medic next saw Leader, they couldn’t help but study their face, searching for anything. But Leader looked even more drained than the last time, still trying to hold it together desperately. When Medic mentioned the news, Leader’s response was calm, almost indifferent.

“Tragic, but not unexpected,” Leader muttered, shrugging slightly. They weren’t even focused— they looked like they could just collapse and take a twenty four hour nap. “Agency was after them. It was only a matter of time.”

Medic nodded slowly, but the uneasy feeling in their gut only grew. There was something, something that was beyond their understanding. But as Leader walked away, Medic knew one thing for certain— Leader was doing something wrong. It was either their sleeping habits or the team had a huge problem.

-•-

Soo, have another random one. This is standalone, but I wrote this with "A Score to Settle" in my mind. Not quite part two, but I began writing with that intention.