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judywisteria5 · 12 days ago

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Reflections on The CLAMP Universe and Cardcaptor Sakura

The goal of this piece is to critique CLAMP’s narrative techniques and character design, with extensive criticisms of Tsubasa and xxxHOLiC, but with no intent to demean the characters themselves.

This is an informal essay that initially aimed to explore why Tsubasa Reservoir Chronicle "damaged" Cardcaptor Sakura and address the complicated emotions of Yue fans, along with the overlooked role of Yue as the Judge. My initial motivation was to critique Ohkawa’s treatment of Yue, but as I delved deeper, the complexity of the discussion grew, making it difficult to settle on a suitable title.

[Reader Notice]

This article is approximately 4,500 words, with logical connections between sections. Please avoid skimming if you intend to engage fully with my arguments.

The purpose here is to discuss the literary techniques and character development within these works. Although there is extensive criticism of Tsubasa Reservoir Chronicle and xxxHOLiC, this does not imply a disparagement of any character. If you hold a different perspective, I welcome well-reasoned discussion. I will not respond to overtly aggressive comments; please avoid bringing in fandom drama.

The original text was in Chinese and published in 2022. I used ChatGPT for the translation and did an initial proofread myself.

I have a lot to say about Clow’s characterization and CLAMP’s failure in portraying him, but I haven’t included it here. English-speaking readers who are interested in discussing it are welcome to message me privately.

[Contents]

I. General Overview of CLAMP II. On Scriptwriting Flaws in CLAMP, with Tsubasa Reservoir Chronicle and xxxHOLiC as Examples III. Cardcaptor Sakura: A Beautiful Yet Unrealistic World

IV. The Forced “Crossover” of CCS, Tsubasa Reservoir Chronicle, and xxxHOLiC V. The Tragedy of Yue and the Inevitable Character Deterioration in Clear Card

VI. Reflections on Clow/Yue Fan Interpretations

[Note] Unless otherwise specified, "CCS" refers to Cardcaptor Sakura as a series, excluding the Clear Card arc. Tsubasa Reservoir Chronicle （TRC）refers primarily to the manga version.

I. General Overview of CLAMP

Despite its popularity, CLAMP is particularly notable for its commercial acumen rather than other artistic strengths. Their success is evident in their keen market insight and adaptability across varied genres, especially in crafting small details (like character and artistic designs). However, they appear weaker when it comes to larger conceptual settings (such as worldbuilding). Although CLAMP’s illustrations are relatively impressive—particularly with art books being frequently published—their overall impact within manga itself is not as prominent. This is especially apparent in action scenes (like fight sequences), which often lack the necessary sense of motion and impact.

In terms of scriptwriting, CLAMP’s style could be described as “aesthetic-driven,” yet the content often veers into melodrama, with plots that lack logic and coherence. The themes they present can sometimes feel troubling: their works tend to emphasize "fatalism," placing excessive focus on an idealized notion of "love" that can feel unrealistic. Although CLAMP’s works are widely recognized, their scriptwriting level does not always match the acclaim they receive.

The following sections will delve further into the issues in their scriptwriting.

II. On Scriptwriting Flaws in CLAMP, with Tsubasa Reservoir Chronicle and xxxHOLiC as Examples The scripts for CLAMP’s works are primarily written by Ohkawa Nanase, hereafter referred to as "Ohkawa."

Many fans regard TRC as a masterpiece, claiming it must be read in tandem with xxxHOLiC to truly appreciate its depth. I strongly disagree with this viewpoint. Below, I’ll refute several key aspects that TRC fans often praise:

The time loop involving the Real and Clone versions of Syaoran and Sakura at the end of TRC.

The intricate timeline with Real Syaoran, Clone Syaoran, Real Sakura, and Clone Sakura is frequently lauded as "mind-bending" and as something that "feels ingenious once fully grasped." In reality, though, this couldn’t be further from the truth! The author clearly lacks the expertise to handle time loop narratives effectively, leading to a storyline that is confusing and difficult to follow. In TRC, Ohkawa uncomfortably relies on ideas of "fate" and "inevitability" to explain the time loop, such as when Real Syaoran steps into Yuuko's shop, setting off a chain of events. However, even if readers accept these ideas, once they unravel the plot, they encounter paradoxes typical in time-travel fiction—especially issues related to the grandfather paradox, which the author leaves inadequately resolved. Moreover, the concept of a time loop itself doesn’t require multiple versions of Syaoran and Sakura to complicate the storyline—this intriguing concept could be fully explored with just a single character.

In the ACGN (Anime, Comics, Games, Novels) world, time loop storylines generally lack the craftsmanship seen in genuine science fiction, and there’s a stark difference between them. (Even Steins;Gate, often considered a “masterpiece,” handles this somewhat clumsily.) Instead, I would recommend Isaac Asimov's The End of Eternity, which showcases meticulous planning, genius in handling paradoxes, and an exploration of philosophical and sociological themes.

(Side note: TRC has numerous bugs, and here’s an interesting one related to CCS: Before Clow Reed warped time and made his error, the King of Clow Country was Fujitaka. However, after Clow’s mistake, Fujitaka splits into Fujitaka and Eriol in the Cardcaptor Sakura world. So, where did Fujitaka, King of Clow Country, come from in earlier parallel worlds? Thus, TRC was awkwardly linked with CCS solely for commercial gain, which I’ll explore in depth in Section Four.)

The CLAMP-style "Sense of Fate" and "Angst" In other works focused on themes of fate, some authors manage to express it with the resonance of Greek mythology or Shakespearean tragedy, while others rely on plot conveniences. I must reiterate that fate is a challenging theme in the ACGN realm, and CLAMP’s works—particularly TRC and xxxHOLiC, where fate is often central—are notably flawed in this regard. By comparison, I feel Puella Magi Madoka Magica addresses this theme relatively well.

TRC constantly emphasizes "costs." In Fullmetal Alchemist, another ACGN work, the concept of “equivalent exchange” reflects the author’s world-building efforts, with fair exchange rules—for instance, achieving immortality requires the sacrifice of countless lives. However, TRC’s world-building is practically nonexistent, with no explanation of the exchange methods or rules. How does Yuuko's shop operate? What can be used as payment? What kind of payment achieves what kind of wish? Ultimately, everything is decided by Yuuko herself. And yet, this “cost” is central to much of the story's angst, such as Clone Syaoran’s connection to Sakura and Real Syaoran’s memories with Watanuki.

In xxxHOLiC, although Yuuko does not return, TRC introduces clones, time rewinds, and space-time distortions while still insisting “the dead cannot return.” This approach feels highly contrived. xxxHOLiC asserts that “there is no coincidence, only inevitability. Every cause has an effect.” This overly deterministic view, combined with weak plot logic, makes Watanuki’s “poignant waiting” in a butterfly dream sequence feel hollow, lacking emotional depth.

Stories that effectively handle fate as a tragic theme often move the plot and create a tragic hero through a series of reasonable yet inevitable events, even if they involve supernatural elements like mythology or religious undertones. A modern example would be Tolkien’s The Children of Húrin, where, under a curse, the protagonist unwittingly kills his closest friend, unknowingly commits incest, and brings misfortune to anyone who draws near, unable to escape the curse. Each event is plausible, whether attributed to the curse or his own character traits.

In contrast, CLAMP’s unexplained ideas of "inevitability, cause and effect, fate, cost," etc., feel more like lazy ways to resolve conflicts and advance the plot, exposing the creators’ limitations. CLAMP-style “angst” largely boils down to “because the author says so,” requiring readers to suspend logical thought entirely, fully accepting the premise, and simply reveling in the “beauty of fate” and the “angst” it supposedly brings. This approach seems best suited to an audience in their angst-filled teenage years, and can be termed “manufactured angst.” For readers who prioritize narrative consistency and well-built worlds, such a plot structure is not only unconvincing but also confusing and awkward.

The Interconnections and Plot Twists between and within TRC and xxxHOLiC When it comes to the interconnected references and callbacks in CLAMP’s works, I can’t provide an in-depth analysis as I haven’t thoroughly read all of them. However, when a story’s core and the author’s skill fall short, no amount of layered references, plot callbacks, or parallels in visuals and character design can add real depth; it all ends up feeling shallow, lacking in substance. To draw an imperfect comparison, the first five chapters of Dream of the Red Chamber, especially the prophetic verses, were crafted by Cao Xueqin. If Gao E had continued the work from there, would the overall effect still be as mesmerizing?

The fatal flaw of Ohkawa’s signature twists lies in the fact that the early foreshadowing and groundwork are nowhere near enough to support the later “stunning plot twists,” which often feel forced and contrived. Creating these twists isn’t difficult because the text can be intentionally ambiguous and open to various interpretations. For example, inserting a few seemingly irrelevant, vague lines into the dialogue leaves space to “explain” (or even improvise) later. They might even deliberately create ambiguous lines and scenes, allowing for a range of explanations further down the line.

Take, for instance, when Fei-Wang tells Real Syaoran, “You’re just like me” (in an exaggeratedly dramatic scene). Most readers might think this suggests they share a common goal, like resurrecting the dead. Yet Ohkawa’s later explanation could be that Real Syaoran is like Watanuki, who is like Clow, who is then like Fei-Wang, making Real Syaoran like Fei-Wang. However, this explanation lacks any logical foundation. The context, preceding events, and the story’s world-building all fall short of supporting such a forced interpretation. Yet this is then presented as “reasonable” in the story’s development, which doesn’t count as proper foreshadowing. Even so, these kinds of setups still earn admiration from many readers, which is honestly quite amusing.

(Side note: In Cardcaptor Sakura, Sakura once told Yue, “You and Yukito-san are so similar,” a line that Yue himself didn’t agree with. However, should Ohkawa decide to “expand” on this line in the Clear Card arc, it might trigger a similar shock effect.)

In summary, the values and narrative techniques in CLAMP’s works often seem rather peculiar, fully revealing Ohkawa’s limitations as a creator (even though she once audited literature courses at a prestigious university, her work’s results speak for themselves). CLAMP’s audience adores TRC and xxxHOLiC, while readers who don’t appreciate this style often struggle to continue and may even doubt the work’s quality. Unfortunately — or perhaps fortunately — I find myself in the latter category.

III. Cardcaptor Sakura: A Beautiful Yet Unrealistic World

Without the nostalgia of childhood, CCS is essentially a typical, idealized Mary Sue-style shoujo manga. It heavily emphasizes gentleness and a “magical allure,” which can come across as somewhat hollow. Even the progressive themes it’s praised for today, like “love transcending social status, identity, and gender,” aren’t unique to this work alone. During the golden age of Japanese manga, CCS wasn’t an especially standout work.

Like CLAMP’s other works, the CCS manga lacks real-world logic. However, as an idealized shojo manga, its conflicts are far less intense than those in other CLAMP works, so the absence of realism doesn’t feel as jarring. CCS presents a beautiful, dreamlike world (though this idealization is taken to an extreme in the character of Yue, the Judge; under close scrutiny, it’s doubtful this perfect world could hold up — more on this in Section Six). For this reason, CCS doesn’t quite qualify as an exceptional fairy tale. A true fairy tale should resonate with all ages, and telling a simple, pure, beautiful story well is no small feat. In the ACGN (Anime, Comics, Games, Novels) sphere, I consider Ghibli’s Castle in the Sky to represent the pinnacle of this genre. The Ghibli world might feel plausible, but CCS’s world feels purely fantastical. Healing, gentle stories also have layers, and when the setting and plot logic feel more realistic, the gentleness and healing resonate more deeply. Even so, CCS remains CLAMP’s best work in this genre and may even be their only truly “pure” story. Due to CCS’s theme, the work almost entirely avoids the script flaws discussed in Section Two, with none of the dark, glamorous style, twisted, chaotic plotlines, or subtly angsty themes that characterize many other CLAMP works.

About 80% of CCS’s immense success can be credited to its anime adaptation. (Though I haven’t researched the manga’s sales or the anime’s viewership ratings, this is my subjective conclusion.) Compared to the manga, the anime’s storyline is more well-rounded (such as the addition of Syaoran competing for the cards and Li Meiling’s character). The characters are portrayed in more depth, addressing many of the manga’s script issues and removing some elements difficult to accept in reality (such as Sasaki Rika’s teacher-student relationship). The anime feels more grounded than the manga, enhancing its healing effect without feeling hollow. Furthermore, the anime’s art direction is more refined and diverse (with additional outfit changes and Clow Card designs). Combined with factors like the peak of Japanese animation’s expansion at the time, these aspects contributed to CCS’s widespread popularity.

In summary, CCS is CLAMP’s only purely sweet shojo manga, suitable for all ages and wholesome, and this is what most CCS fans love about it. This fanbase doesn’t entirely overlap with the audience for CLAMP’s other works.

IV. The Forced “Crossover” Between CCS, Tsubasa Reservoir Chronicle, and xxxHOLiC

In discussions surrounding Cardcaptor Sakura (CCS), it’s common to see people recommending Tsubasa: Reservoir Chronicle (TRC) and xxxHOLiC, claiming that these works "explain" certain plot points in CCS. I strongly disagree with this viewpoint. I believe that if you enjoy the healing, wholesome themes of CCS, along with elements like magical girls and costumes, it’s best to avoid watching TRC and xxxHOLiC, and there’s no need to delve into CLAMP’s other works either.

The crossover between CCS and TRC/xxxHOLiC fundamentally disrupts CCS’s independent charm for two main reasons:

Firstly, CCS is entirely different in genre from other representative CLAMP works, especially TRC, as discussed in Section Three.

Secondly, using character names from CCS in TRC and xxxHOLiC is purely a commercial tactic, designed to draw attention by tapping into CCS’s popularity. Beyond shared names and appearances, there’s essentially no thematic or plot-based connection between TRC/xxxHOLiC and CCS.

Since TRC appears to have a closer link to CCS, I’ll primarily use it as an example for analysis.

So, what is TRC really about?

[Plot Overview]

In summary: The first half consists of episodic dimension-hopping stories, with Syaoran traveling through various parallel worlds to collect feathers to save Sakura. Most characters in these episodic arcs are from past CLAMP works. The latter half focuses on unveiling the truth (with a slew of Ohkawa-style twists) and the final confrontation with the antagonist, though this section’s handling of time loops is poorly executed, as previously discussed.

In detail: At the moment of Yuuko’s death, Clow Reed briefly wishes she could "open her eyes again." Because of Clow’s overwhelming magical power, this wish stops Yuuko’s time and distorts space-time. This thought ultimately takes form as Fei-Wang Reed, the final antagonist. Fei-Wang orchestrates a series of events to torment Syaoran and Sakura (hence the episodic dimension-hopping). Meanwhile, Yuuko and Clow work to restore the timeline and correct this mistake. In the end, their efforts succeed, but both die in the process, leaving Syaoran and Sakura with a slightly better outcome.

[Characterization]

Syaoran: The classic shounen protagonist — brave, kind, and determined to protect the heroine.

Sakura: A gentle, kind heroine who initially needs saving but gradually grows into a resilient and courageous character.

Clow Reed: A kind, gentle figure driven by remorse, striving to make amends for past mistakes.

As we can see, this has virtually no connection to CCS: the plot is unrelated, and changing the characters’ names wouldn’t impact the story in any meaningful way.

The Syaoran and Sakura in TRC are merely the typical shounen manga leads, sharing almost nothing with their CCS counterparts, particularly Sakura.

In TRC, Clow serves mainly as a plot device to supply the core conflict and backstory. Over half the manga passes with Clow appearing in fewer than 20 panels (I counted carefully; his longest scene is a four-page flashback from Sakura’s memories). His characterization is minimal and fundamentally inconsistent with CCS’s depiction of him as whimsical, eccentric, and morally ambiguous. Aside from their names and appearances, the only connection between Clow in TRC and CCS is the title of "great magician." In TRC, it’s explained that Clow left the CCS world due to a space-time distortion and that he had to “fill in the gaps” in a parallel world to correct his mistake. This connection is entirely forced—why would he need to “fill in the gaps” to fix his mistake? There’s no reasonable explanation. If the story were altered so that Clow from Cardcaptor Sakura simply passed away naturally, while TRC featured a powerful magician named “deeR wolC” who distorts time and space and works to make amends... it wouldn’t change the story in any meaningful way.

In fact, after CCS concluded, Ohkawa gave several well-known interviews where she firmly stated (paraphrased): “CCS is not in the same universe as other works. CCS is complete with no sequel.” This clearly indicates that Clow’s death in CCS has nothing to do with TRC. The claim in TRC that "Clow left his original world to atone for his mistake" is just a convenient excuse by Ohkawa, who lacked the scriptwriting interest to fully address TRC’s central conflicts, so she used Clow as a scapegoat. Using Clow across TRC and xxxHOLiC ultimately came at a high cost — it led to a complete breakdown of his character. (This, of course, is also one reason I find Clow and Yuuko as a pairing highly unconvincing, an issue I’ll discuss in more detail later.)

In conclusion, CCS is a self-contained, internally consistent work that doesn’t need and shouldn’t be linked to TRC or xxxHOLiC. However, the Clear Card sequel to CCS shows signs of merging with these two works. While CCS is itself a commercial work, this pursuit of greater profits by capitalizing on CCS’s popularity to promote more commercialized works undermines CCS’s simplicity, purity, and beauty — a counterproductive move.

Syri once said that TRC is “a product of CLAMP’s creative burnout, now stale and contrived.” I find this assessment very accurate. Although early CLAMP works like RG Veda and X have melodramatic plots, they are filled with creativity, inspiration, and even a touch of BL aesthetics. However, TRC is simply a repackaging of these early works, commercially reprocessed. Comparing the iconic moments in early CLAMP works with those in TRC and later works, the former have a powerful emotional impact, while the latter feel more like beautiful but soulless dolls. This phenomenon only becomes more evident in CLAMP’s later works, especially in Clear Card.

Some critics say, "CLAMP’s commercial strategy resembles Apple’s: build a closed ecosystem (story chain), reuse core templates (worldview), and extract the last drops of value from classic characters (popular characters)." This commercial model is fully realized in TRC, and perhaps TRC’s success gave CLAMP a taste for this approach, leading their subsequent works to lean even more toward commercialization. (Though, personally, I think a comparison to Marvel Cinematic Universe might be more fitting.)

The artistic merits of this “repackaged content” have already been discussed in detail in Section Three.

V. The Tragedy of Yue and the Inevitable Character Deterioration in Clear Card

(Due to heightened emotions during writing, this section may be somewhat disorganized and will be refined later.)

Yue embodies many classic CLAMP elements, incorporating various iconic traits from earlier CLAMP works.

Design Elements: Cherry blossoms (anime-only, during "The Final Judgment"), Tokyo Tower (also anime-only, appearing in "The Final Judgment"), the moon (Yue is literally a symbol of the moon), and feathers — all of these are signature CLAMP motifs.

Art Style: In the manga, Yue’s eyes, hair, and feathers are rendered with an intricate, lavish style, closely resembling classic CLAMP aesthetics. Although CCS generally adopts a simplified, clean shoujo style, Yue’s design still stands out as distinctly different from other characters.

Character Traits: Yue relies on his master and develops feelings due to his subordinate position. When his master reincarnates, he is destined to fall into a one-sided devotion, with slumber and waiting themes that define his existence…

The problem is obvious: Yue’s aesthetic and character setup don’t quite align with CCS’s themes. He feels more like a character suited for one of CLAMP’s earlier works, better placed in an intense, "fate-driven tragic romance" typical of the CLAMP style.

Furthermore, if Yue’s character were developed with realistic logic, it would likely mean his attachment to his former master, Clow, is deeper, making it harder for him to connect with his new master. This setup contradicts the idealized shoujo philosophy where the protagonist is universally adored. In other words, in a shoujo manga, everyone should love the universally beloved heroine, Sakura Kinomoto, and Yue’s design clearly contradicts this convention.

When CCS was created, the character settings might have been somewhat spontaneous, carrying over traits from CLAMP’s earlier style. This led to characters like those with dual personalities or souls (like Yukito and Yue), as well as conflicting lines and official character details. There’s also added complexity, such as one persona still having feelings for a former master. However, as CCS gained popularity, these casual elements turned into significant issues. As a gentle, comforting shoujo manga, CCS relies on its core themes staying intact, but Yue’s character starkly exposes CCS’s lack of realistic logic and could potentially undermine its themes of warmth and kindness.

As a commercial team, CLAMP’s Ohkawa may lack the writer’s attachment and regard for her characters, as seen previously with her treatment of Subaru. Even if Ohkawa did want to develop her characters carefully, as mentioned earlier, her skills might not fully support this. So, what kind of treatment could Yue receive in this context?

Most likely, Yue would be deliberately sidelined or subjected to official out-of-character (OOC) moments, eventually resulting in his character’s decline.

And thus, in Clear Card, we see a Yue who doesn’t resemble "Yue" at all: outwardly cold, but actually a soft-hearted tsundere; he seems like he’s going to scold Syaoran, but instead gently touches his face (an utterly puzzling scene); he quickly devotes himself entirely to protecting Sakura, showing almost no reaction to Clow (although in the original series, every mention of Clow subtly affects him) and even goes so far as to scold Eriol over Sakura…

The original CCS ends without revealing whether Yue eventually moves past his heartbreak or remains sorrowful. However, at the very least, Eriol left open the possibility of accompanying Yue, preserving the integrity of CCS’s theme. However, Clear Card, as a direct sequel, fails to address Yue’s unresolved issues. No one comforts or regards him as an independent being — everyone simply prefers Yukito. Under these circumstances, the attempt to create a warm, healing atmosphere only weakens the other characters. The character who suffers the most from this decline is Eriol. As the only one who truly understands Yue’s feelings and experiences, he should offer comfort, even if he isn’t Clow. As Clow’s reincarnation, he absolutely should. In the original CCS, he pays particular attention to Yue, not only focusing on Yukito. In Clear Card, even if actual conversations aren’t shown, we might assume private exchanges took place between Eriol and Yue. However, in scenes where “Eriol, Kero, and Yue meet,” there’s no indication of any private communication between Eriol and Yue. Eriol even leaves a message for Kero but not for Yue. How is this “kind”? He shows more concern for Ruby than for Yue. Doesn’t he recognize Yue’s gentle, soft-hearted nature? Syri once criticized the overemphasis on “Syaoran x Sakura” and “You’re the best!” moments, and this view is valid. The deliberately heartwarming atmosphere feels hypocritical in these circumstances.

Conclusion

In the original CCS, Yue is the only truly tragic character, while the other character designs remain largely intact.

Viewing CCS, TRC, and xxxHOLiC together, Clow’s character has completely deteriorated (and if Watanuki in xxxHOLiC is made into Clow’s reincarnation, this would collapse entirely), with some associated characters also affected.

Considering CCS, TRC, xxxHOLiC, and Clear Card as a whole: all the characters have ultimately suffered from inconsistency and decline.

VI. Reflections on Clow/Yue Fan Interpretations

Firstly, for me, fan creation isn’t just entertainment—it’s a way to explore interesting questions and think about life. So, I tend to analyze works and characters with a more realistic perspective, blending in my personal experiences and thoughts. I’ll often dive into a whole “plate of dumplings” (the entire work) just for the “vinegar” (an aesthetic or intriguing concept, not just a character or pairing). Since I can’t make my own “dumplings,” I rely on others' works for this “vinegar” that can only be savored along with the “dumplings” (meaning character issues need the context of plot, setting, etc.). In Clow, Yue, or Clow and Yue, I’ve found that exact “dish of vinegar” I crave.

Secondly, my fan creations lean toward a “gap-filling” style. I enjoy constructing stories and backgrounds that align with the original based on limited information. I especially like exploring what might have happened before the main storyline—like stories of Clow, Keroberos, and Yue.

But honestly, CLAMP’s works make terrible material for fan creation:

As I mentioned, CLAMP’s worldbuilding is loose, the plot lacks logic, and it just doesn’t hold up to scrutiny. Using any reasonable logic to think about these settings just ends in "meltdown."

CLAMP’s works are “fan creation killers,” leaving little room for fans to build on. They churn out spin-offs, novels, audio dramas—ways to boost their commercial value and basically dictate how fans should interpret the work. But I don’t want to follow their way of doing things. CLAMP throws away the “vinegar” I crave, instead serving up industrial sugar or blades that I can’t stomach.

A Short Piece

This is a short piece I wrote two years later to counter some CLAMP fans.

If creating a character requires 100% effort, then CLAMP’s portrayal of Yue is 60% creation and -40% destruction, leaving a mere 20% of creativity. As for Clow, his character is so poorly constructed and hollow, riddled with logical contradictions, that I can’t even evaluate the effort needed to create him. Honestly, Clow is just a lazy storytelling device Daioh uses to set up background and conflict, saving herself a load of work—way more than she put into Clow and Yue as characters!

Let me be blunt: the core elements and relationship of Clow and Yue are simple (art aside): Clow is a half-British, half-Chinese great magician with knowledge across East and West who created the 52 Clow Cards (a spirit deck for divination) and the guardians Keroberos and Yue (representing the sun and the moon). He deeply loves his creations, treating them as his children. Before passing away, he used foresight to prepare for the next master and ensured that those connected to the Clow Cards would be drawn to the guardians. Clow is gentle, wise, and mischievous; Keroberos is lively, Yue is calm and pure, with the moon’s nature, and deeply loves Clow. It’s that simple. Since CCS ended, every CLAMP work depicting Clow and Yue has steadily destroyed these core aspects, completely ruining both characters and their relationship. So, where exactly is this "characterization" CLAMP supposedly offers?

And as for that argument, “you shouldn’t criticize creators while enjoying their work”—that tired “fan rule” against criticizing creators—it’s ridiculous. CLAMP makes manga for profit (I call it “money-grabbing” because CLAMP has no professional ethics), and it’s the readers who fund them! Discussing CCS online adds to its popularity; in my youth, I even bought merchandise. In other words, I paid for CCS as entertainment, only to find out it’s trash after looking closer—so shouldn’t I be allowed to criticize the creators? Frankly, those few core traits and some art are more than enough to fuel all my writing and headcanons, far surpassing CLAMP’s shallow portrayal of Clow and Yue. Does my passion for Clow and Yue have anything to do with CLAMP’s flimsy plotlines? Clow and Yue can easily be separated from the original work and its creators. I won’t accept any rhetoric about "you can’t criticize creators" or “you have to know how to make your own ice before judging a refrigerator!” I only care about the core elements here. I paid for this and can take what I like from it to fuel my own enjoyment.

And to end with my usual bluntness: Anyone who backs CLAMP can’t truly love Clow Reed and Yue. You just don’t honestly care about these two characters.

#clamp #clamp manga #cardcaptor sakura #xxxholic #tsubasa reservoir chronicle #clow reed #sakura kinomoto #syaoran li #sakura x syaoran #yue #yuuko ichihara #yue reed

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