#despite any minor issues i may have with season 2

[becasbelt]

idk but if i see the words "fix it" associated with a season 2 fic i'm just not gonna read it. like. sorry no i'm actually not interested in seeing how you think you would've done better than the arcane writers, but have so much fun with that <3

[generalluxun]

So, I now we've discussed the Marinette Butterfly user Villain AU a bit and I wanted to share some musings I thought you'd find interesting.

I mentioned in talking I sort of had two distinct themes/ideas in mind that don't really fit together but that both are interesting to me.

So the basic set up is the same in both versions, something bad happens to Marinette's family over the school break. So she's got enough isolation from that when she's gifted a pendant as a comfort present, no one is present enough to notice her shenanigans.

She & her family are good people and they didn't deserve this (True) he resolves to access the power "Greater than Death" to right this wrong, & starts by sending out butterflies to locate the Miraculous.

With the broad empathy of the pendant & the more direct line via the butterflies, her perception of people becomes deeply bitter. People are becoming as miserable and angry as she is over the most minor of things! Leading to an increasing alienation from other people that makes her fall to villainy after a disastrous (Through butterfly) conversation with a transformed Fu.

This leads to "Dark Wings Rise."

Anyway the two variants I envisioned are as follows:

1: A deconstructive theme on the nature of "Good social skills VS bad social skills.

By which I mean, Marinette canonically is quite deft socially when not flabbergasted by her crush or super stressed. She offers genuine aid to those around her and gifts gives freely. This leads her to being very well liked.

In contrast, Chloe has terrible social skills in most casual scenarios she's exposed too and is actively disliked. & Lila, while well liked is only that way through using "Bad" skills, such as lying, rather than genuine one's.

The contrast would be in them, despite falling into the traditionally 'bad' category being her opposition. While Marinette uses her influence in the class to target them cos good skills can still be used for bad things.

In this context I imagine her Catalyst would be Sabrina. Whom she whisked away from Chloe and whose drive to be useful to others made her very easy to convert into an Akuma that existed to empower Marinette.

Lila's response to the class would basically be, "Is this a cult? Am I being educated in a cult class?" While Chloe's is more just "Everyone hated me anyway, & I don't trust anyone any-how bring it!"

The biggest hurdles would be Marinette's social skills not taking a dive with her head space. That she'd need to be transformed to use Nooroo's empathy power. & the fact she's not naturally that kind of schemer anyway.

2: A Good Victim Becomes a Bad Victim, VS a Bad Victim

Messily put, but fairly straightforward. A big issue many have with the show, and that can be analyzed inside it, even in the earlier seasons. Is how "Bad victims" who act out of hurt, ignorance or malice brought out in them don't usually get the same kind of empathy as the "Good victims". IE, the people whose trauma doesn't manifest in ways that are inconvenient or unpleasant or messy.

Let alone the perception of needing to earn people's assistance by improving before you get support, even when one is a child with no support networks, minimal guidance and struggle even identifying the problem. Yeah sure that may make it easier for people to help them but that's like asking someone with PTSD to stop having panic attacks before they get therapist for their panic attacks.

In this case, Marinette's not a character who canonically can easily grasp the "Bad victim" experience, or more subtle coercions. As a result, even when in a position like Ladybug she sometimes fumbles some major points or misses red flags Chloe & Gabriel/Audrey respectively.

So thematically she's unaware of it but her decline into villainy also involves her becoming a "Bad victim". One who chases away people trying to comfort her, if perhaps less overtly than Chloe, as her pity well taps out because "being embarrassed over a crush isn't as bad as what I went through but you feel as bad, how dare you!"

Meanwhile Chloe, largely due to circumstances is put in a somewhat better situation, be it a team, or via access to the Kwami or even just the admittedly clumsy efforts of Fu to stop her from getting killed by Akuma every few days.

The point is she's getting the help first and improving her standing in class and her mental health because of it. A fact which boggles Marinette who can't see how, or why, this is happening and perceives it as another injustice.

Her Catalyst would be Lila who sees the skilled seamstress has become socially isolated by her own hand. Her casual use of Akuma & efforts to see if Marinette can be a useful 'friend' lead her to becoming an accomplice. One who likely realizes too late just how out of hand this all is.

I think he big struggle with this idea would be how things got 'that bad' and 'that isolating' for Marinette. At least without making either her social network look shitty, or her own inclinations being naturally towards villainy regardless.

Conclusion:

I think over all the second version feels more coherent. Good social skills can be used for bad is more like an episode theme than a series theme. Plus as said it requires more explanations for how things go the way they do than the other.

Especially if Lila's less "Machiavellian villain" and more, "Oh she makes good outfits & has no friends, I can fix that & get free clothes! Oh she has magic powers, I want magic powers, I-... I think I am in over my head here... Double down double down!"

Notes:

Though it could also easily be linked with some other ideas I had recently. Like that more expanded villain cast from the regular AU.

IE, Sorcerers seeking the Miraculous, temple monk survivor after Fu, the Tsurugi's being anti villains/antagonists but not villains. Lila actually being Volpina, ETC.

Let alone the recent "Butterfly can do everything Peacock does with creative thinking" idea. Tough in that case explaining where Adrien came from may be hard without more of an overt AU...

Unless, the story starts into the school year, and Adrien, having befriended Marinette early on gives her his mothers pendant perhaps? Could still have Gabriel causing his own kind of trouble too... Hmm...

I muse, even as I know I likely lack the time to write this ><

Anyway I hope it was interesting!

I like the analysis. Second scenario definitely feels more viable. Drop senti-Adrien and the blending of the Butterfly/peacock doesn't matter. I would *not* bring sorcery/other stuff in. You already have a *lot* going on. You are past the point of adding complexity.

[bucketbrigayd]

UNPOPULAR OPINION BELOW

TLDR: TBB writers have actively worked on numerous issues fans have raised, but said fans don't appear to be giving them any credit for it.

I don't think people on this website give TBB writers enough credit, truly. Granted, they are already at a disadvantage by being a tiny part of a large corporation that has NEVER been known to make significant efforts in removing harmful stereotypes involving race, gender, or sexuality from their content. The exception is, of course, when performing 'activism' = profit. (DISNEY is an evil corporation and if you are going to boycott one measly SW show, you might as well boycott them all).

Taking that aside, TBB writers have consistently listened to their viewers and their VALID concerns, which is clear in the writing and animation of Season 2. Now, we've all heard of the movement to un-white wash the bad batch. From the start of Season 1, viewers have been speaking out about how the models for the clones in TBB, who were deemed 'genetically superior,' looked far lighter than their original actor, Temuera Morrison. The writers and animators directly responded to these claims, and have appeared to have taken action to re-visit their animation choices in season 2. The colors for TBB, as well as Omega, have better represented Temuera Morrison and PI's range of skin tones in this past season. Some may disagree with me on that, but just looking at side by side comparisons of the skin tones in season 2 compared with Tem's in TBOBF, I'd say they did a pretty good job.

Another major grievance fans had with TBB season 1 was the continuous placement of POC into villainous, stereotypical roles. To my knowledge, season 2 villains were nearly unanimously white. Additionally, POC were placed in more positive positions , such as Phee, a black woman who was characterized as a community-driven leader. Additionally, she was voiced by Wanda Skyes, a black woman and activist. Putting people of color into roles that actually represent them is so important, and was a choice that didn't necessarily have to be made.

There were many complaints about ableism in Season 1 of the bad batch. Echo was picked on and comments were made about his prosthetics and disabilities. While I personally found these complaints a little silly, I understand that fans were upset about them. This season featured Echo taking on a much stronger role, in which his disabilities were a strength that he maintained autonomy over, eventually deciding to leave the batch despite his traumas about his experimentation. Additionally, Tech, who is autistic-coded, had wonderful dialogue that provided great representation for neurodivergent people. The scene in which he spoke to Omega about his brain not 'working' or 'processing' like other peoples was particularly refreshing to see on TV.

Overall, I think it's clear that TBB showrunners, writers, and animators have listened to fandom complaints, and have made active efforts to ammeliorate them in season 2. They appear to be invested in putting on a show that people want to see, and that minorities feel represented in.

Are there other things that could probably be adjusted in TBB to better represent minority communities? Of course! Do we live in a world where that is the standard? NOT AT ALL! If we did, this wouldn't be an issue! But unfortunately, in this day and age, racism, sexism, homophobia, etc., STILL EXIST and PERSIST. It takes active diligence to unlearn and reverse harmful stereotypes, and one of the first places they are going to show up in is media. I think the bad batch team has at least listened to fans and responded accordingly.

I truly believe that the writers and animators of the Clone Wars and the Bad Batch genuinely enjoy their careers. Not only that, but interacting with fans has consistently been a defining feature of their production group. Their team has had the most outreach to fans of any other show or group in Disney's new Star Wars, since many of the team that makes TBB were leftover from when TCW when Lucasfilm was sold. Tumblr is an echo chamber. While you may think your voices have been loud, there is just no way that individuals voicing their dissent with the series were numerous enough to provide a serious threat to viewership . I believe that the showrunners made the aforementioned changes because they genuinely DO care about the issues that these fans have brought up. NOT because they were scared into making them for profit reasons. THAT is what really matters. There are so many examples of shows, both produced by Disney and from other multi-billion dollar companies, that simply do. not. care. about these types of issues, or about how fans feel watching their shows.

Ultimately, I think the vitriol directed at the Bad Batch showrunners is misplaced. At the end of the day, it is the NORM of Disney and their content to put out lackluster shows that make little to no effort in providing representation, and often default to tired plot-lines and stereotypes that harm underrepresented communities. I'm not really sure what TBB team could've done differently to better address viewer complaints regarding representation and stereotypical portrayals of minorities. Nearly every concern that I have been able to find has been addressed.

I know many may disagree with what I've said here, and I'm cool with that. This concIusion is certainly not popular opinion, at least not from what I've seen on my dash, and mostly I wanted to put out an alternate take on points previously raised. I am unashamed to say I love Disney's Star Wars, and specifically, how the bad batch has handled season 2.

[lostariel17]

The Mandalorian Season 3 - Post-Binge Opinions

So I just binged the last season of the Mandalorian and while I enjoyed it enough, I do have some opinions about it (because it’s Star Wars and I always have opinions about Star Wars) Since it’s 3am and there’s no way I’m gonna be able to sleep right now, you get them in no particular order.

1. Why do they never close and lock their ship when they leave it? This makes no damn sense and opens them up to the worst possible security issues...

2. Bo-Katan’s throne room is ridiculously big. Alright, it would be impressive if it was filled, but her just lounging there all alone made me want to throw therapist numbers at her.

3. Speaking of therapist, shouldn’t have Grogu have had those PTSD flashbacks earlier? Also, I don’t like them dropping bits so randomly like this. I suppose they’ll use them later in future season. But it felt quite “let’s drop that here since it doesn’t fit anywhere else” to me.

4. I also admit I was bored most of ep3. I just didn’t care about what happened to the doctor and I feel disappointed that the longest episode of the season was almost exclusively about two minor characters, one we don’t even see again later.

5. While Grogu being all toddler “no no no” with Mando was fun and cute, Greef Karga choosing to cannibalize IG-11′s corpse to give like that says a lot about how little thought they give to droids despite them being sentient. Me didn’t like that.

6. Speaking of Grogu in that droid, what the hell was Mando thinking when he took him to Mandalore’s surface??? He knew they were going into an unknown potentially very dangerous situation. Taking the kid with him made absolutely no sense and shows that he really doesn’t have any experience with children.

7. This point may be influenced by fanon, but even if it is, I don’t care. Where are the non-humans Mandalorians??? They are a “swear the Creed, become one of us” people. They shouldn’t be all humans or near-humans!

8. The fights were disappointing, especially the gun fights. Most of them just felt too staged (which I know they are, but they aren’t supposed to feel that way) and boring and like the Mandalorians were Stormtroopers who couldn’t aim. Until they suddenly could 🙄

9. Why are Mandalorians so self-sacrificial? I don’t care that it makes sense with their culture and that it was a logical enough choice. I didn’t want Paz to die!!! I like his big dick/gun energy and the way he’s just very guided by his emotions and his pride. But I guess that’s what fics are so I’m gonna head up to AO3 later, and hopefully someone will have already fulfilled my fix-it need🤞

10. I always assumed that Mando’s first name was Din and his last name Djarin. Which is my Western raising showing I know. They could have told us before the last episode of the 3rd season that it’s the opposite though! Because if they did it earlier, I completely missed it 🤷‍♀️

11. Can they stop making the big bad guy come back in a full black armor? Darth Vader is dead and the vibes are over 🙄

12. The New Republic is proving to be very fussy about procedures and paperwork, which I expected. I didn’t expect them to go the forced indoctrination way though. That part was a bit darker than I expected. I did like it though!

So, this was my post-bing ramble. Hopefully it’ll still make sense when I get up tomorrow!

[fantasyinvader]

Today, I did something I haven't done in a long time. I binged. On what, you may ask? Batman Caped Crusader. I'm going to try and keep spoilers to a minimum, but these are my thoughts on the show.

Art-wise, the show fucks. It's more committed to the 40/50's aesthetic than Batman TAS was in it's early days and I really enjoy the callbacks to Golden Age Batman stuff. His cave looks like the the one from the 1943 serial, and Alfred has a more portly design remaniscent of the original despite still being Pennyworth.

The one thing that kinda urks me is the race-swapping of characters, but that's more of a writing issue. I mean, we all know the prejudices of that era and at times DC isn't afraid to remind us of that. Hell, the first Batman serial was very racist against the Japanese because it was propaganda to get people to support the internment of Japanese-Americans during WWII, and Batman having a design similar to that era keeps reminding me of that. The show never really tackles the racial issues of the era, but it's willing to take shots at sexism and is has a bone to pick with the rich (even Bruce has a few comments thrown this way). This show is definitely not copaganda either, as the corrupt police and officials in Gotham feel like a bigger threat than any of the costumed crooks. Between that and the woman-on-woman kiss not raising an eyebrow, Gotham looks insanely progressive for it's era. But I feel there's a missed opportunity there to show that the problems of Gotham aren't just the crooks and crooked cops. In contrast, I look at Superman Smashes the Klan which did tackle the prejudices of the era, as well as difficulties a black cop might face from the force. But at the same time, just because a character is a PoC in this version doesn't make them good guys.

I know it's a minor thing and the production likely didn't want to attempt that, but it just bugged me is all especially with Batman's history in that era.

It really feels like there was a commentary on vigilantes, how some of the guys Batman stops believe they're doing good because of who they're targetting. Even the classist ghost. So it's also setting up Batman's crusade may be a slippery slope. Doesn't help that this Batman is, well, he reminds me if you play a hardass in the Telltale games. It really feels like they were going for a layered Batman. You have the playboy persona of Bruce Wayne as the first mask, Batman as the second mask, and the real Bruce Wayne hidden deep down inside. So deep it's easy to think that the depth bottoms out at the second mask. This isn't a Batman inspiring hope, this is a costumed vigilante handing out two-fisted justice rather than deal with his own problems as he also keeps everyone at arm's distance.

I didn't like how Harvey Dent was presented as a crooked DA through most of the run, only for him to have a change of heart which leads to his disfigurement. Then the show is banking more on him and Bruce being friends (with Batman using him), and he's portrayed more sympathetically. I feel like they could have done more with his arc throughout the entire season rather than just the last quarter. I mean, they set up Harley 2 episodes before she was a villain.

Speaking of Harley, this version of her is scary as fuck. Even this world's version of the Penguin is scary considering what she does to her son in the first episode. Catwoman being a thrill-seeking kleptomaniac didn't quite work for me despite me loving her design. Clayface was awesome. If I had to rank the episodes the episodes, it would be like this.

2>10>1>8>9>5>4>3>7>6

Really though, each episode at least gets a B- rating from me though but 2 and 10 would be the only ones I would give an A rating too. It's a good series, but it only on occasion rises to great in my opinion. I can't help but compare it to the more serialized My Adventures With Superman, which more properly builds up it's stories and as a result builds up hype.

Overall Grade: B+

[dentpx]

Well we finally got more than one episode into Season 8 of DW, so as we are now officially over halfway, here is my favorite episode of each season. We must keep in mind that “favorite” does not mean “best”.

Season 1

Boom Town is amazing. The Jack/Rose/Nine polycule is canon. The stakes are pretty low so it’s mostly interpersonal drama. Minor villain redemption. It has everything. Season 1 is my favorite season and I don’t think there’s an episode I don’t like but I LOVE this episode.

Season 2

This is cheating (already) but welcome to the only non-finale two parter that is any good! Love this one. Rose is trying to parent trap her divorced parents again despite the fact that their relationship is no good. There’s a random gay extra who is alternate dimension Mickey’s boyfriend. They give the cybermen feelings. And this will all come back in a big way at the end of the season (something that rarely happens well in DW). Great stuff truly.

Season 3

I find the final two episodes super underwhelming, but this episode that sets them up is SO GOOD. I think the plot/mystery is compelling, there’s a beautiful bug alien woman, Martha and Jack get to hang out, Ten breaks up with Jack officially…..lots happens in one episode. Also they do very well with the apocalypse visuals.

Season 4

This episode is good stupid fun. Donna and Ten are at their best when they get to be a little silly with it, which is exactly what “Agatha Christie murder mystery except the murderer is a bee alien who has learned the plots of her novels via psychic necklace” is.

Season 5

How are we already to Eleven…I love him so much, and I really love that he has to pretend to be a normal guy and weird roommate. I don’t even care about the alien plotline. I wish this whole episode was Eleven’s great month as a human. Yes James Corden is there which may be off putting. But I think his time on DW is his career peak.

Season 6

Season 6 has lots of really really good episodes. And sadly for those episodes, my favorite is the follow up James Cordon episode. SORRY ITS SO GOOD. it’s so good. No further comments.

Season 7

So my big issue with the Eleven + Amy + Rory trio is that they really push this dynamic in the dialogue that doesn’t seem to actually exist in the show. Like, Amy spends her first season in love with Eleven and on the rocks with Rory, Rory is there to make sure she doesn’t cheat on him, and Eleven is the number one Amy/Rory shipper. It’s not great to me. The dynamic does change and get better throughout season 6 but the relationship drama with Eleven is just never any good and you never buy the idea that they’re all very good friends. Power of Three FINALLY perfects the dynamic and is just great fun to watch. And of course Eleven is, as always, at his best having to act like a normal guy living through time in a normal way.

[object-show-analysis]

*waves* hi!!

So, i've been thinking: Where did Paintbrush's anger issues come from? In season 1 they dont show any (or barely show any) signs of having anger issues OR fire powers. I've been trying to give to this lore for quite for time, but failed.

Thank you! -MPW

Hi there! This is a great question!

You’re right. Paintbrush doesn’t display signs of anger much at all during season 1. Though to be fair, they don’t get much screen time at all. Their main gimmicks in the first season mainly being their gender, and being continuously interrupted/ignored. These are things that aggravate Paintbrush a lot later in season 2. So this means that their issues with anger must develop some time after the end of season 1. So let’s talk about it.

When we see Paintbrush at the very beginning of season 2, nothing has really changed since the first season. There’s nothing really significant about them right off the bat. They appear to be on relatively good terms with everyone. Especially Marshmallow, who they still regard as a friend after season 1. And interestingly enough, they seem to be on solid terms with Lightbulb before the competition starts.

In episode 1 of season 2, Paintbrush is extra friendly with the new contestants and is eager to meet them. As opposed to Lightbulb, who seems wary to trust them. As Lightbulb in early season 2, especially episode 1, was a lot more uptight than she appears later in the season

It’s only after Paintbrush joins the Bright Lights that their behavior becomes more aggressive

When MePhone first places them on the team, Paintbrush is excited to be there. They show no hostility towards anyone on their team. But that changes quickly due to the behavior of their fellow teammates.

The frustration starts when Lightbulb gets upset with Paintbrush for assuming TestTube would be smart, only going off the fact that she’s a TestTube. Paintbrush, despite being correct in their assumption, is scolded by Lightbulb and accused of judging people based on appearance. This is the first time we see Paintbrush get genuinely angry at someone else.

Even though this is minor and certainly not enough to constitute as an Issue, this is still worth mentioning. Because Paintbrush’s anger only gets worse from here.

This encounter seems to put Paintbrush in a bad mood, as they later lash out at Suitcase for not helping the opposite team, calling her selfish. As the competition goes on, Paintbrush continues to lash out in anger. Resorting to physical violence with both Fan and Yang (and by extension, Yin)

Paintbrush seems to have dropped the subject by the next episode, and continues to get along with Lightbulb, but after this point they are much more prone to anger.

Though it’s not like the anger isn’t justified. They always have reason to be upset. The main cause of their frustration? Inadequacy. From both their team, and the team’s leader

Lightbulb certainly struggles as leader of the Bright Lights, though it’s something she never admits, or may not even realize. She punishes people for little-to-no reason and often ends up ruining challenges.

Paintbrush expresses this frustration with Lightbulb’s inadequate leadership in episode 4. They quickly shut down Lightbulb’s cookie pizza idea, leading to Lightbulb bringing up her own past issues with Paintbrush, like the way they judged TestTube based on appearance. Eventually leading to Lightbulb questioning Paintbrush’s artistic abilities (though that’s technically not something we see any proof of until episode 12 of season 2)

This is what pushes Paintbrush over the edge. They quickly express their grievances with Lightbulb. Expressing how much of a horrible leader she’s been.

From this point, Paintbrush and Lightbulb appear to consistently be at each other’s throats, which continues to fuel Paintbrushes anger.

(Though as I explained in my last Lightbulb Analysis, Lightbulb still considers Paintbrush a friend)

This anger brought on by Lightbulb’s inadequacy as a leader later extends to Paintbrush’s other teammates, and even occasionally the hosts.

The first notable instance of Paintbrush’s anger extending from a rivalry with Lightbulb to a general anger is when they begin to argue with Fan in episode 7

Paintbrush once again takes up the role of leader, providing a pep talk to the rest of the team. Which we know they do because they feel Lightbulb is unfit to lead, both from previous actions and later dialogue, as they tell lightbulb in a later episode, they took the job as team leader because “someone had to”

This is when Fan interjects, saying there’s no need to try in the contest because of the clear winning pattern. Paintbrush snaps at him, thinking that’s a ridiculous idea, but one by one everyone else agrees not to try for one reason or another.

At this point, it’s not just Lightbulb who isn’t trying. It’s everyone. And this is what causes Paintbrush’s anger to go from targeted aggression, to full on anger issues.

From this point they snap far easier. Episode 10 seems to be the height of their aggression, as they snap at multiple members of their own team, and even resort to physical violence.

Speaking of which, to answer your other question about their fire abilities, when they get physically aggressive with Fan in episode 10, their tendency to catch fire is established as a genuine power, rather than just a physical gag, as it was treated in the past.

So that’s how paintbrush’s anger issues evolve over time. They start to get better after episode 10 as more and more members of the bright lights start to make amends with Paintbrush (which I may cover in a future post) but I hope it’s clear where their issues came from now!

[amethyst-wind-uk]

Yu-Gi-Oh! Sevens is the best YGO animated series since season 2 of Yu-Gi-Oh! GX. Maybe best overall.

Sevens just finished this week, so that’s why this post exists.

Sevens did so many things better than basically any of the other YGO series:

* The main protagonist, Yuuga, doesn’t win every single duel (fuckin’ Yusei/Yusaku). He, in-fact, loses about half the time. Not just to bad guys, either. He’s lost to almost every one of his main friends group (sorry, Gakuto) at least once, and to some secondary characters besides. There’s very little enforced hierarchy among the main group of good guys. Everybody gets involved, and everybody contributes. They don’t just wait for the main hero or the rival to show up (a la YGO GX season 4). Their joke character is also very much established to be bloody useless and unlikeable outside of dueling (we aren’t expected to consider them cool, like we supposedly were with Crow).

* The supporting tertiary cast is HUGE, but a tremendous effort is made to keep them involved, and give them things to do. The main cast will routinely seek assistance from minor characters with different specialities that they themselves don’t have, rather than the minor characters always begging this one small group for help.

* Romin, Asana, and Tiger (the three most prevalent female characters) are very much not there to be bystanders (unlike Anzu, Asuka, Post-season-1 Aki, Kotori, Yuzu, Aoi). They’ve all beaten Yuuga, and they have a bunch of on-screen wins each (unlike Mai, who despite being recognised as a strong duelist in-story has only on-screen wins that are; a filler episode, and a win-by-forfeit against coming-off-an-already-strenuous-duel-and-faints-before-the-duel-would’ve-ended Jonouchi). All three of them have their own separate business that they take care of, and their own ideals to follow. They’re not ducklings following the main protagonist on his adventures alone.

* Heck, the entire cast (sans Luke) spends most of their time concerned with things that aren’t dueling. They like dueling, and their desire to save it drives most of the overarching plot, but they have others things going on too.

* Maximum Summoning is what Union monsters should have been this entire time. And the new spin they gave to Fusion Summoning is vastly more entertaining than any previous efforts.

* By design, duels don’t devolve into “I’ll play this one card, which somehow has three abilities over twenty lines of text, and then do the same with two more cards, and this one turn will last half the episode and somehow leave me with many more cards than I started the turn with”. The ridiculous solitaire-esque nature of previous series’ has been essentially done away with, and for good reason. Duels are simpler, but more fun to watch.

* The quote-unquote ‘villains’ do generally win their first few duels against the heroes, but villain decay usually sets in pretty quickly. It’s actually not a negative, though, as it ties into the series-wide narrative that these are children, and they are playing games. As previously stated, the secondary characters still tend to be given something to do that doesn’t just become “appear in group shots while the 'big three’ duelists fight all the battles” - Neil basically runs the city, acting as a mission control who is recognised by all characters as essentially the smartest guy around to consult on intellectual issues. Asana and her construction-crew-themed followers both literally unearth secrets and assist in building gadgets. Roa is devoted to his music even more than his dueling.

* It’s genuinely fun to watch almost all of the time, unlike most of GX, most of 5Ds, most of Zexal, ALL of Arc-V, and especially ALL of Vrains.

[zeta-in-de-walls]

Some thoughts on Jack and Tommy’s character’s relationship.

Hey guys, some thoughts on Jack and Tommy’s character’s relationship.

They’re just so tragic, you know? They could be such good friends - and they have been in the past. But instead one wants to kill the other and they can’t seem to really see each other. And I think it’s because they’re so similar. They really are.

They have so much in common. They love to hang out with others and both enjoy cause a certain level of chaos for fun. They have a similar sense of humour. They were both part of L’Manburg and miss being a part of it. Neither are able to live a peaceful life despite wanting closure. They’ve both experienced hurt/betrayal from the people they trusted. They’ve both lost everything many times.  They’ve both died and come back. They’re both currently plotting to kill their enemy in order to finally experience peace. 

And yet the biggest difference is perhaps how Tommy gets way too much attention while Jack doesn’t get enough. Jack feels overlooked and his plot over Season 2 was him trying to do things but each time his scheme would get foiled before it even went anywhere and no one even noticed. He got so tired of never being noticed and that fed into his anger. Tommy meanwhile was being targeted throughout season 2, Dream was actively trying to destroy his life and  every single action he took was being harshly judged. He wanted nothing more than to just chill and have a nice time but he kept being forced to take a stand and choose between his friends and get challenged on everything he did. If Jack’s character is fed up with being seen as a side character than Tommy’s character is equally tired of being seen as a main character.

This issue was so apparent in their fight at the hotel. Jack was furious as Tommy was overlooking him yet again while Tommy did not want to deal with anything, just wanting to feel normal again after his ordeal. 

These two just can’t seem to see each other! Tommy doesn’t know that Jacks still caught up on that time he killed him - he’s unaware that it was a canon death and that he hadn’t resolved it after his apology afterwards and letting Jack steal Hotter Girl. He’s unaware that Jack felt abandoned in Schlatt’s Manburg. Unaware that Jack died in the Doomsday war fighting in defence of Tommy’s L’Manburg and then came back from the dead. When Jack shouts at him, he can’t see that Jack’s been suffering as well and needs him to actually listen and pay attention to him. Tommy looks at Jack and says, ‘nothing ever happens to you. You’re Jack Manifold.’

Meanwhile Jack is seeing Tommy as a monster, the shadow of his once friend who died a long time ago. He thinks Tommy is the source of all conflict on the server and can only create problems and that’s not really who Tommy is. Like Tommy was in no way responsible for Doomsday - it was Tubbo and Quackity for the Butcher’s army, and Techno and Dream for the actual attack. Tommy griefing George lead to Dream building those walls and attacking Manifoldland yes, but Dream was targeting Tommy anyway and likely would have found some other reason to have him exiled if he hadn’t done that (rather minor) grief. (Not that he hasn’t done anything wrong, just nothing that really means the server would have actually been better without him.) Tommy is instead another victim trying his best to recover and be more peaceful. He was trying to move on when they argued in that hotel, not because he didn’t care about Jack at all, but because he was overwhelmed and couldn’t deal with discussing how he’d died or Jack’s feelings about it. 

Both characters are rather lonely right now. When Tommy died, Jack admitted he didn’t feel like he had anyone and that Tommy had been giving him a purpose. He missed belonging to something, missed the good days of L’Manburg when he had real friends. The first time he felt betrayed was being left behind in Manburg. Meanwhile, while Tommy was in prison, he expressed how there being trapped alone in isolation was a fate worse than death to him, and much of his exile had been marked by his great feelings of loneliness. Getting out had him seeing some of his friends seeming to be moving on and it hurt him to feel so left out and unwanted once more.

Both of them want Dream gone. They both recognised him as the biggest threat, even as Jack sees Tommy on the same level while thinking Dream is taken care of and Tommy is afraid that Dream will escape and bring more terror to the server. Jack wants to become Prison Warden while Tommy wants the prison to be reformed and Sam to be removed from his position. These two both want the hotel to thrive, they both consider it theirs. 

Their goals align so much, they have so much to offer each other, they are such natural friends and yet they are at odds. I want them to resolve their issues. They’ll have to both learn to see each other properly and both learn to listen to each other. They’ve both had development - after his reaction to Tommy death, I don’t think Jack will be able to go through with killing him. He’s not a cruel person, just an angry one. And Tommy has been trying to be less self-centred and he’s been expressing his issues better lately. I feel like he should be able to actually listen and try and mend things when he’s ready. He does have the capacity to apologise and admit fault once he’s realised.

All in all, it is my hope that they could be friends again and become close. The potential is there!

--Thanks for reading. I don’t know Jack’s character quite as well as Tommy’s - though I do watch and love them both - so please, please tell me if I got anything wrong about him or you’d like to offer any extra insight that I may have overlooked. I adore their dynamic and really enjoy discussing it, tragic though it is. Hopefully I haven’t seemed too harsh on either character, they both have flaws and reasons for them and they’re both sympathetic!

[mindibindi]

Beyond disappointed in Ted Lasso. What were they thinking?!

The writing is a complete betrayal and insult to Rebecca’s character and Hannah’s skills as they’re being seriously underused. It’s also insulting Sam’s character.

Hoping someone pulls Rebecca’s head out of her ass tbh. Sam shouldn’t be getting caught in the crossfire of her looking for romance. I know he showed up at her doorstep but she still should’ve turned him away, and not even messaged him in the first place.

Hey, I'm with you, Anon, though we do seem to be in the minority. Sam is definitely not blameless here, he is also in the wrong. But if one of them is more in the wrong, it is Rebecca. I can't speak to whether her head has left her arse as yet because I have quit watching (at least for now). I hear she called it off with Sam in the most recent ep, though not because of any major crisis of conscience or because anyone in her inner circle expressed any reasonable reservations in response to her bad behaviour. And to be honest, I'm not sure we should need to hope and pray that Rebecca's precocious god-daughter, her slimy ex-husband, or the brutal British press will act as a moral compass on this ill-advised relationship. Both Rupert and the press have been set up to some extent as the villains of the piece. And a 14 year old should never have to school her elders on what is and isn't acceptable. Nora's needs have already been neglected by Rebecca for far too long.

If a moral position is to be taken on this, it needs to be taken by the show (because stance matters) and/or by its characters. But the show has for the most part depicted this relationship as ill-advised but ultimately hot, sweet, funny and romantic. As for the characters themselves, Sam has shown at least once that he has some moral backbone but seems to be adorably clueless when it comes to fucking his boss who keeps trying to set boundaries with him. Meanwhile, Rebecca's whole arc in s1 was about learning not to misuse her power for her own selfish ends. In season one, she misused her power within the club in order to exact revenge. In season 2, we have seen her misuse her sexual power, though I still cannot see to what end. I'm a bit at a loss as to what exactly she gets out of this 'relationship' but then I'm a grown woman so I have absolutely no interest in sleeping with a Harry Potter enthusiast barely out of his teens. I couldn't think of anything less sexy and more ick. I was certainly hoping for better character development for her this season.

As to what the writers were thinking, obviously I was not in the writer's room, but I would guess that they were thinking that any drama is good drama, people are stupid and fan devotion will trump any meaningful critique. In other words, they were thinking exactly how every other television writer thinks, despite the fact that this show posited itself as 'not like other TV shows'. This, to me, is where the blame really lies. Not with the characters or with the actors who are doing their best to sell this ludicrous turn of events. It must be noted, however, that both actors were completely blindsided by this relationship that had supposedly been so cleverly foreshadowed. Newsflash: if the people actually living these stories did not see this coming then you haven't foreshadowed shit. Sure, there were a handful of people that paired Rebecca with Sam but this does not constitute proof either. Fans have free-range to imagine and re-imagine characters. In some cases this may extend to imagining relationships between characters who have barely, if ever, interacted. There may be little to no evidence that these characters have even clocked each other's existence and some fans will still ship it. The existence of a handful of shippers does not legitimise such a problematic and divisive plotline making it onscreen.

But wait!, you might argue, this may not be a case of a popular show seeing just how far they can stretch fan devotion. This may not be a case of fan service to a handful of shippers. After all, the creators mapped out the entire three-season arc of Ted Lasso before they even pitched it to Apple. This was their brilliant plan all along! To which I would say: then maybe they should've rethought their second act based on people's strong reactions to their first. Ted Lasso was touted as the show we all needed in 2020. The writers and creators have all marveled at the chord it struck considering it was conceived prior to the pandemic and all the chaos it wrought. And while there is something to be said for having/sticking to a creative vision, there is also something to be said for being flexible and responsive to your audience and the cultural zeitgeist with which you're engaged. Season 1 of Ted Lasso told its story so gently, without creating distrust, division or unnecessary anxiety. It did not treat its audience like a gaggle of stupid lemmings to be led over a succession of narrative cliffs. THIS is what I mean when I say the show has broken with its brand. And look, this whole dark forest thing would be okay if the narrative arc was as well-crafted as s1. Season 1 gave us meaning, cohesion, comfort, sense in a senseless time. It was an almost perfectly crafted season of television. And I kept the faith for 6 episodes, despite the first half of s2 being pretty damn wobbly. But the follow-up to this stellar debut has been less than extraordinary so yeah, perhaps they should've thought a little harder about what made s1 so special before throwing it all out the window.

But wait!, I hear the faithful say, you don't know how things will pan out yet! Wait until the season is over and everything will make sense! But -- wearily and once again, I say -- we should not need to wait until the end of the season to understand what the hell is happening. By this point (over halfway through the season and show) we should have a v clear idea of the show's themes and the characters' arcs. And tbf, from what I can tell there are some fab things happening in other aspects of the show that I wish I could watch and enjoy. But my biggest fear at this point is that they are going to use Sam to solve Rebecca's childlessness. That, like Rupert (because the parallel cannot be avoided), she will become pregnant with a young fling and the show's attitude to this relationship will ultimately be: oh well, it was a bad idea and didn't work out for them but it was all for the best in the end cos who can be mad about a cute lil baaaayyybbbeeee??!! If they do go down this path then I will definitely be abstaining from the rest of the show. I will simply recall my repeated viewings of s1 with fondness tinged with regret at just how badly they fucked up a good thing.

Ultimately, Anon, I think this may be a case of there simply not being a diverse enough perspective in the writer's room. I am not saying that every single woman or every single person of colour will necessarily object to this relationship. I am simply saying that women and people of colour will be more sensitive to the issues of gender and race that are relevant here but that have not been fully or sensitively acknowledged in the writing of this plotline. Neither am I saying that Rebecca is the first woman to sleep with a man much (much, much, MUCH) younger than herself or indulge in an ill-advised relationship. But the comparison with Rupert both works here and doesn't because Rebecca is not being written like a white woman, she is being written like a white man. Realistically, only a white man can engage in this kind of hugely imbalanced relationship seemingly without any major moral qualms or societal ramifications. Not to put too fine a point on it, but this kind of relationship is reserved for all the Bills and Joes and Brendans and Jasons out there -- not for the Rebeccas and definitely not for the Sams. We are way beyond the point in feminism where we believe that liberation is simply the right for a white woman to behave as badly as a white man. The truth is that whatever wealth, power and privilege Rebecca has, the rules are different for men and women. She will not be treated the same as Rupert if and when this affair is uncovered. She will be treated far more savagely than Rupert ever was and Sam will be treated far more savagely than Bex was. This is not an argument for the equal treatment of these two relationships. It is an argument against how the relationship between Rebecca and Sam has been envisaged, i.e. through the wrong perspective. In writing from a 'neutral' white male pov, the show has invisiblised all the many issues activated by this storyline and revealed a blindspot that was always there.

As much as I loved and still love season 1 of this show, it has definite blindspots when it comes to representations of race and gender. There are at least two moments in s1 that stand out for me as being so obviously written by a man. Not necessarily because of what they do but because of what they don't do: what is missed, absent, unacknowledged. I was willing to overlook such minor failings in a debut season for many reasons. But s2 seems to have exacerbated these minor flaws rather than correcting them. And here I can't help thinking of Tina Fey speaking of the diversification of the writer's room at SNL during her tenure as co-headwriter. This notoriously male-dominated environment only began to shift and produce better work when a greater diversity of minds, voices and persepectives was allowed in the room. In this richer environment, she notes, different jokes played differently. Different sketches made it to air. Different perspectives were represented and different performers were celebrated. I can't help wondering if this plotline would have made it to air if there had been a female writer, a writer of colour or both further up the chain of command to challenge the ideas of the straight white dudes in charge.

One of the reasons I didn't think Ted Lasso was for me was that it centred a straight, white, cis-het, able-bodied man who rose to a position he didn't earn. That is just not a pov I would normally choose for myself, especially now that there is such a rich array of alternative perspectives through which to view the world. But I think the show won a lot of females fans with its first season largely due to its portrayal of Rebecca. She is the first person we meet. She is arguably the protagonist of s1. And while she would have been figured as a villain in previous pieces, the show never took that stance with her (because again, stance matters). Other elements like the depiction of female friendships, all centred around Rebecca, made this show female-friendly viewing. But imo, the major reason this show won over female fans (this one, at least) is because, in this post-MeToo, post-TimesUp era, it stood up and said: domestic violence is not okay, we stand with women and all victims of abuse, we will defend you, we know words can hurt, we know it can happen to anyone, we know all about toxic masculinity, we do not take this lightly and we will support you in your healing. Needless to say, this is how women hope men will act when they speak of their most difficult experiences but it is not how they always do.

The shift away from Rebecca this season has however meant that the white male experience is more centred than it was in s1. Rebecca's journey to recovery, health and happiness has been trivialised and sidelined, reduced to a highly questionable sexcapade. Meanwhile, we get overwrought manpain at every turn. We get Beard wandering around London (no, I haven't seen it and no, I don't need to. We've all been raised on white dudes thinking they're genuises when they have a figurative wank all over our screens). We get NO queer represention at all. And the only other female characters on screen are in care/service roles to men. The father/son, mentoring and toxic masculinity themes are all still there but they're no longer balanced out by ANY other competing perspective. One of the reasons I was okay with Ted failing upwards in s1 was that he used his power and privilege to lift up others. He was the one in service. He used his enormous privilege for good, as anyone with such privilege must. (Admittedly, it could be argued that this is just another version of a white savior narrative).

My point here is that I'm not sure that peeking behind the mask at the sad clown is as revolutionary as some might believe. We love it because it's familiar. But this is a narrative with a long and problematic history. Do I believe in tearing down toxic masculinity in all its forms? You bet. Do I believe that patriarchy traumatises men as well as women and every other minority in existence? I mean...nowhere near as much, but absolutely. Do I believe in men expressing their feelings and going to therapy? Wholeheartedly. But I am also aware that 100 or so years ago, we were in a very similar place with our narratives. Everyone is looking for a recapitulation of modernism and frankly, this might be an indicator of just that. Whenever women and people of colour have demanded rights and recognition, there has always been a resurgence of tales about just how frickin' hard it is to be a white man. Minority genders and non-white people have never in western history been as visible or vocal as they are now. So forgive me (or don't, I don't care) if I critique a show not only for centering fathers, sons, boys and men but for blindly and boldly writing one of its only female characters and one of its only black characters as if their gender and race just do not exist. There are many other power differentials at play in this relationship, including age, experience, wealth and position, but race and gender are the two that patriarchy is most invested in invisiblising. So I don't care how brilliant they think they are, I will not trust the writing of a bunch of white dudes trying to tell me that race and gender are irrelevant.

[jerepars]

Back again lol. Even though the writing just hasn’t been the best this season, I’m not really that mad about the way they’ve portrayed Jeresa. Just looking at this logically, I feel that they gave us 5x02 as our Jeresa episode early on and there really was a lot of sweet moments. Now, inevitably we had to have angst in between. But it’s been constantly cemented that James is in love with Teresa, and strongly implied that she loves him too. They can’t just build that up and leave it unresolved. Plus, with TV shows in general, a couple being together early on in the series just leaves it open for unnecessary conflict and the ship just loses its intrigue. If they give us the Jeresa ending we’re hoping for then it makes sense to have not got them together any episode earlier than the final 2. And despite everything, I think the writers have been a hell of a lot better than others in keeping their ship alive and not causing a irredeemable issue between them. I probably shouldn’t defend them before seeing the next two episodes, but I am hopeful. All that being said, there most definitely should have been more scenes and dialogue between them. We should’ve had a Tony moment between them (I’m so mad about this, especially since the writers acted like it was such a pivotal part of the season and then only showed Pote’s ‘grief’). I’m very sorry for rambling, just wanted to hear your take.

Oh, yes hello, back again, I see. Your ask made me sigh because I think it opens me up to be honest and critical of this season’s writing, and that kind of opinion may not always be favored around here, and also because it requires a response of essay length. But I’ll do it for you, anon, I will. Okay. So you want my take on the portrayal of Jeresa in season 5. Here we go. After the jump:

Let me preempt this by saying the show isn’t too serious (try and tell me this is still a serious show after the kerfuffle that season 5 has been), so you shouldn’t take this too seriously either. I have an opinion but I’m just…me. I encourage everyone to stick to their guns about what they feel about QOTS; what you like about it, what you love about it, what gets you excited, what you think has been done well, what is worthy of praise, etc. etc. etc. I go in pretty hard on the show in the next several (LOL, yes, really) paragraphs. But I am in no way the ultimate authority on all things QOTS.

I don’t think Jeresa would have unnecessary conflict and I don’t think the good ship Jeresa would lose its intrigue. In lieu of conflict, we’ve gotten…*crickets* nothing. No conversations of real value, no meaningful exchange of ideas, no arguments, nothing. If anything, the conflict between Teresa and James that is necessary had been absent. In seasons 1-3, there were always disagreements between Teresa and James. There was never a point reached where it created too much conflict, or unnecessary conflict. It created tension, which is like the very essence of Jeresa, and it showed the dynamic they have that made so many of us fall hard for Jeresa as our ship, as our OTP. I don’t think making them a couple or having them together early on in the season would create unnecessary conflict. I think it could’ve created different conflict than what we’ve seen before, and wouldn’t that be a beautiful thing, to have seen them evolve and deal with each other in ways we haven’t seen before?

So, related to what I said about different conflict, as far as intrigue goes…I don’t think presenting Jeresa as a couple or in a relationship would ever make them flat or boring. When I think back to season 3, when we got Jeresa in 3x05 and 3x09, I wish we’d been offered the chance to see them succeed and see what happened with them if they tried. Like I said, it’d be a different kind of conflict, a different kind of challenge for them to face and have to face together. That sounds so opposite of lacking intrigue to me, anon. That’s a side of Jeresa I would have loved to see.

You’ve pointed out that, in general, on TV shows, getting a couple together too early usually means doom and gloom and failure for them. One of my favorite shows ever was Veronica Mars, the first two seasons especially. When the showrunner, Rob Thomas, has talked about the first kiss Logan and Veronica have, he refers to it as being earned. For QOTS, and for Jeresa, I really felt that when they shared their first kiss in 3x05. It took so much and they went through so much to get to that moment. It was earned. So, with that idea—of the earned kiss, of the earned get together, of the earned relationship—in mind, to me, there is no point in season 5 that would have been too early for Jeresa.

Talking about TV shows and how they usually go in general leads me to my next point: as a viewer, is that what I want and is that what I should expect, to be given more of what’s typical? Maybe the writers and critics and people much smarter than me will tell me it’s my fault, I’m the fool, for wanting to critically engage in media that’s not meant to be consumed that way. Maybe I’m just supposed to accept and enjoy and be happy with what I’m given. No one claimed this wasn’t going to be typical. So okay. It’s on me. It’s my bad. But here’s the thing. If I’m supposed to accept and enjoy and love this as it is…well, give me something to love. I’m not asking for a revolution or anything life-changing here, just something I can appreciate (and this season, in my opinion, has really lacked things that I can hold on to and appreciate). So as for typical TV…I’m not down with merely accepting that because things usually go a certain way, that’s how they always have to go.

Why do Jeresa have to fail if they got together earlier in the season? Why is it so out of the realm of possibility that they might succeed together? Are they so emotionally stunted, do they lack so much compassion and understanding of each other that it would be impossible for them to listen and move forward together? What if they could discuss their issues, tell each other how they feel, stop hiding, and try? Who says there wouldn’t be angst and tension between them as they try to work through their issues? What if they’re actually supposed to be together and it would make them stronger—individually and as a couple?

Now, forget everything I just said. LOL. Let’s say we have to go by TV in general and typical TV rules. Let’s assume if Jeresa got together early on, then we’d see them struggle and fall apart and break up. Fine. Okay.

Here’s how Jeresa could have played out after the first two episodes:

5x03 banging honeymoon phase, probably

5x04 arguments and frustration with each other as T embraces being the white queen

5x05 J finds out about T’s coke usage and has to walk away from the relationship because he can’t stand to be complicit and stand idly by while she destroys herself

5x06 classic Jeresa angst and tension

5x07 KG’s death leads to T’s breaking point and J is there to support her

5x08 honesty hour, where it’s made clear that these two mean so much to one another and they’re running out of time to let each other know that, so they tell each other

5x09 one last united mission + they hatch the plan to get out and be free + a farewell with the promise and intent to see each other in another life

5x10 reunion in another life

Are these all headcanons? Of course they’re headcanons. Of course I would never expect the show to go exactly how I thought it would or with my own ideas. My point is that if they would’ve gotten together early on and we’d been given a glimpse of what that would be like, even if they failed, it doesn’t mean it would’ve been impossible for them to ever find themselves together again before season’s end.

“There’s not enough time,” the writers said. “It’s an action packed season,” the writers said. Okay. Why? There was enough time to spend on backstory of minor insignificant characters. There was enough time to introduce characters, tell us a bit about them, only to see them dead by the end of the episode. There was enough time to focus on Kote’s story, over multiple episodes, with not just a baby plot but a kidnapping one as well. So why? Why was there no time for Jeresa? Forget about them getting together and kissing and sex. If that was what it was (and it was) they wanted us to not have, then fine. Some of my favorite Jeresa moments were in the first two seasons, when Jeresa getting together was very much not a thing, when tension was high. So if it was just the portrayal of them not being together, if we still got the scenes of tension and them having no choice but to communicate, that would be completely fine. Like I said, I know I’m never going to get exactly what I want, my headcanons are mine, so that’s okay. Oh. But…no. Oh no. There was not even enough time for Jeresa to have more than short, throwaway, blink-and-you’ll-miss it conversations? Well. It’s the writers’ decision. They wanted it that way.

“It’s a Teresa-centric season,” Dailyn claimed. Like I’ve said before, James is a big part of Teresa’s journey and story. If you’re going to have a Teresa-centric season, it’s hard to accomplish that without shedding more light on James and Jeresa. This isn’t a Teresa-centric season. This has become the Kote show. Teresa is the main character but her journey has been pushed aside, diminished, and downplayed in order to make way for Kote ultrasounds and Pote grunting and Kelly Anne thinking “positive” and hopeful that Marcel will come to a party at the safe house. Instead of getting conversations that would offer insight into Teresa’s relationships with those in her family, we got an extended deep dive into the most chemistry-lacking relationship we’ve ever seen on the show. Well. It’s the writers’ decision. They wanted it that way.

“It’s Queen of the South, not Jeresa of the South,” the writers will insist. If by that they mean it’s Kote of the South. Imagine for a second that it actually was a Teresa-centric season but they were adamant about keeping James in this minor capacity. Okay. It would still be different than it is now because we’d be in tune with Teresa. We would’ve gotten a glimpse into her thought process. Was this not, at some point, meant to be a story about a strong woman? I can even extend that question to Kelly Anne. Was this not, at some point, meant to be a story about strong women? Then why do we keep seeing them make asinine decisions? Why are their most extreme actions in reaction to what the men have done?

Moreover, if this show is about the people in the cartel, in Teresa’s inner circle, rather than just the Kote side plot becoming the main plot, there’s no way this is the James we would be getting. James, our beloved reluctant assassin…who we know nothing about. He can’t even get a backstory on a show on which he is supposedly one of the main characters. Five minutes—five seconds—couldn’t even be spared on James and how he came to be who he is, how he got where he is. But Isidro Navarro? By all means, I need to hear his life story. Who’s Isidro Navarro, you ask? Right. Exactly. Apparently we don’t deserve backstory and explanation and conversation and introspection from our protagonists. But a character who is there for ten minutes or less on a single episode and will never be heard from again in any significant manner? Of course he needs his screen time. Well. It’s the writers’ decision. They wanted it that way.

“This is not a romance show,” the makers of season 5 said. Honestly? Fuck that noise. Fuck that sentiment. Fuck that ignorance. When has Jeresa ever been about romance? Where do the people who make this show get off saying something like that as if we are so stupid we don’t know that? A romance story and a love story are not the same thing. Jeresa is love. God forbid Jeresa ever experience love within a successful relationship. God forbid Teresa and James ever become mature enough to use love as strength rather than weakness. But pile on all the Kote. Focus on them and emphasize how Teresa and James can barely even look at each other. Well. It’s the writers’ decision. They wanted it that way.

So now here we are, on the cusp of 5x09. We got a spoiler in the last promo trailer. We know, after 7 episodes since their last conversation that actually meant something, after the writers missed the mark and didn’t have Jeresa interact in a way that was significant and necessary over the course of the season, that there is at least one kiss. They might even have a conversation. They might even share more than one kiss that leads to more (but also, don’t be surprised if we get a mere few seconds of a kiss and nothing more before fade to black). This is going to make us so happy because finally, finally, they’re giving us what we wanted. And then what? What does it mean if those things are true? Is everything forgiven? Is the instant gratification of seeing our ship sail for a scene or two enough? Does it make up for the character assassination of the characters we love? If we somehow get the ending we want, or at least one close to it, is it even believable anymore? Is what has been broken all season so easily fixed?

Listen, I already know the counter argument. I’m going to be told I’m crazy, that Teresa has to be on her own, that it wouldn’t be interesting, that it would diminish the payoff for Teresa and Jeresa in the end. I get it. Typical TV rules, right? We have to go with what people know, what they’re used to. But what have we gotten, really, to preserve these ‘rules’ for TV in general? Teresa has been dumbed down and is now lacking a lot of the intuition and street smarts she had before. She makes bad decision after bad decision and she doesn’t see what’s coming. The actions she takes are in reaction to those bad decisions. James hates so much of what he’s been made to do but for some reason he keeps going along and carrying out Teresa’s orders; he’ll just stew over it quietly in a corner without saying anything. Teresa and James don’t talk to each other, at least not about anything important, and when they do talk, they give each other heart eyes but never scratch the surface—how could they when they talk for like 10 seconds at a time? So. Has this been a good portrayal of Jeresa? You tell me. If it’s fine with everyone else, then I guess it’s fine. I’m probably the wrong person to ask.

[miraculouscontent]

(miraculous asks)

Anonymous said:

Oh My Gosh!!!! I was just thinking about Party Crasher and man I hate how they had Ladybug get captured for the men to save! It's a continuous thing you see in media: strong heroic woman gets put in peril so that the men can shine. I didn't even realize it until you said it! I get that it was probably meant to be a "role reversal" of Chat always getting kidnapped or brainwashed for Ladybug to save, but the fact that this is the "guys' episode" it read like "well damn, we can't have the guys be strong if a girl is in the way; let's have the girl get captured so the boys can prove their worth by rescuing her!".

At least in Sandboy, Ladybug was still competent and came up with the plans, but this?! It makes me sick, and it's all too easy to fall into these traps; even Kim Possible did it! In my magical girl story, the heroine does get put in a magical coma and require someone to bail her out, but it's her female friends AND her boyfriend who save her, so it's not just a girl being weakened so a boy can be powerful, especially since said boy actually does a minority of the work required to save her; the focus is on the female characters so it's her girl friends who do most of it. I still ended up scrapping that side plot anyway, and do you know why? Because regardless of who saved her, I still didn't want my female protagonist to be put in distress at all due to the unfortunate implications! Needing help in a fight? Sure. But outright being captured or kidnapped? Nah fam.

I was honestly thinking about that when the first episode came out. Like, they could’ve just had Marinette NOT SHOW UP in time so the guys take care of things, which at least gives more of a message that Paris wouldn’t go to hell just because Ladybug is a little late or something.

And yeah, the “boys squad episode so gotta toss the girl out” is... sigh.

Anonymous said:

I think the writers were trying to show Chat angsting to show his regret instead of an actual apology. Still doesn't explain why Aeon didn't bring up her death afterwards. Did Olympia delete that from her memory banks?

I guess? :|

I don’t know why Chat can’t just apologize without fishing or trying to earn sympathy. Like JUST SAY YOU’RE SORRY, DAMMIT.

Anonymous said:

If you haven't read Maribat, then you won't regret it. I am not in the DC universe but I started reading it and WOW. Literally every single time Marinette is a badass queen and gets her complete revenge and is actually happy! Even if you absolutely love Lukanette (which I have nothing against) you should totally try it.

Appreciate the comment, but I find it hard to ship other Marinette ships outside of Lukanette. Ivanette is a very loose exception and it’s not like I ship it hard or anything.

Anonymous said:

Despite not being a Lukanette shipper I love you. Why? Because you amazing, so right in literally everything and I love you <33

gkdfjgfdngjkfdg thank you

bat-anon said:

The NY Special made it so that Max is literally the only Black/Brown kid that doesn’t exist to make Love Square happen and that just makes me hate it even more.

I wish you didn’t make me have this realization because I hate it.

At least Delmar existed in the New York special???? I guess???? I dunno, I’m trying here, I don’t recall him doing anything love square centric.

Anonymous said:

I honestly don't mind Alix's outfit as Bunnix! I feel like it fits her, plus she's an adult so its not much of a problem, not saying it can't be improved however. I DO have issues with the designs for the underage girls outfits however....those are very sus

Yeah, the problem I take with Bunnyx’s is that it’s a bodysuit. If there was just more definition, like having actual boots, I wouldn’t complain as much.

Anonymous said:

I actually just really like the idea of the new bee being a genuinely nice person who becomes friends with Marinette. Not exactly close friends (since I like the idea of friendly working relationships without actual personal stakes in them). I also enjoy the idea of the new bee having some small animosity for Chat Noir- just because their personalities aren't the greatest mix. I also think that it would make sense for the miraculous of subjection to be at odds with the miraculous of destruction

Full agreement but we know how much the writers are resistant to have characters go against Chat.

Anonymous said:

Not gonna lie the scene where the girl squad gets akumatized almost makes it seem like they got akumatized on purpose, similar to Manon in Puppeteer 2(although she was a little kid who was probably just imagining she could enact revenge). And why can't they have a uniformed design, like they're a team but wear different colors, similar to the Sailor Senshi(like, Alya's the leader and wears orange, Rose wears pink, Alix wears green, Juleka wears purple, and Mylene wears yellow). It's so boring.

Mood.

Not to mention that WE ARE SO TIRED OF THEM GETTING AKUMATIZED INTO THE SAME AKUMA.

AT LEAST PALETTE SWAP THEM.

Anonymous said:

Relating to the Didn't Need Burrows and Treatment of Marinette bingo cards, have you considered making one for whenever the show fails at girl power? It could say things like "sexualized frames of teenage girls" "boy tells girl what to do" "girls don't get to keep Miraculouses", and "girls are forced to apologize whenever a situation goes wrong". And in the center, it could say "Don't show this to your daughter!"! Lol! What do you think?

lol I feel like I have enough cards, otherwise I would.

Anonymous said:

I saw another post that talked about Miraculous New York, and they theorized that it was rewritten to focus more on Marinette and Adrien in order to get viewers invested in the Love Square again after more people started to lose faith in the ship. Do you think that's a possibility?

I think so. The whole special comes off as trying to reassure love square shippers because of how hard it goes for him. I cut out Marinette’s crushing and it cuts like 18% from the episode, meaning it’s even worse than Season 3 (15%).

Anonymous said:

Maybe the point of the [break-up episodes] is meant to discourage people from shipping Lukanette and Adrigami too?

Spoiler alert: didn’t work.

Anonymous said:

Are we not gonna talk about how in one ask, somebody legit said "(long dreamy sigh) Viperion"? Like same.

RIGHT????

Same.

Anonymous said:

Ml fandom: I hate how Ladybug keeps secrets from Chat Noir! He sacrifices himself for her all the time and she never appreciates him for it! He has EVERY right to get mad at her!!

ML Fandom when Chat Noir does the same thing in the special: ....Wow Ladybug was way to harsh on Chat Noir!! She doesn’t appreciate him at all!! Shes so mean to him!

:|

i hate it

Anonymous said:

Idk if it's just me, but a majority of the fandom is split in two; it's never one or the other "MARINETTE SUCKS AND IS A HORRIBLE PERSON GUARDIAN MARY SUE WHO SEXUALLY HARRASSES" or "ADRIEN SUCKS HE WAS NEVER ON MARINETTES SIDE" but im personally on the latter, but not to that extreme. i hate videos bashing marinette and then never acknowledge adriens faults

Yeah, the fandom gets more divided as time goes on because of the writers trying to increase the drama/tension.

Anonymous said:

I am PERSONALLY offended they gave Luka the snake miraculous. Snakes have such a negative connotation. A lot of people insult Lila by calling her a SNAKE. And now those ML writers DARE insult the best character in ML?! HOW DARE THEY!?????

I adore Viperion but I agree that I first heard he was getting snake and was like, “BUT MY BOI???”

It gets awkward too because other animals like the pig have negative connotations, like how Daizzi basically means “idiot/stupid” and they’re giving it to the freaking blond character, really???

Anonymous said:

I think that Ivanette would be even better if Marinette was plus-sized character.

I see why you’d think that. I just disagree because then it turns the ship into “let’s pair the heavyset characters together because they heavyset.”

Anonymous asked:

On the topic of romance failures and general series salt, my main issue right now is how the series puts so much focus on romantic relationships while failing to consider other levels of relationship or what they affect.

On the L² front I can completely buy Marinette being in love with Adrien. Most of the time she genuinely wants him to be happy and is ready to take a step back for him, however much it hurts. But in terms of romantic love? It. Is. A. Crush! But if we step back from the formula, what is there left between them? Their civilian relationship is held together by a “comedy” of errors and without that there is surprisingly little left. Well, besides two “best friends” desperately trying to make it happen because somehow they lost their individual characters and instead of being friends became matchmakers?

I too like Luka and Marinette together. Their relationship is pretty nice to see and all. But sometimes it feels like it happens in a dimension of its own, like the writers want to make the endgame clear in that the “sideships” can be easily cut out of the big “how they got together”-recaps. I especially miss reactions from and interactions with Juleka. She is Luka’s sister, Marinette’s friend, and IIRC someone aware of if not even a bit player in the great shipping game. She is in a prime position to step up and bring progress on all fronts: She can talk with Luka. She can either give Marinette helpful pointers or go “All in or nothing”, i.e. trying to make Marinette get her Adrien-feelings in order as she does not want her brother to get less than Marinette’s full heart. Similarly, she can counteract “friendly acts” and stop humiliating situations from escalating, or she herself can escalate them in the “All or Nothing”-scenario. Yet she remains basically a background character who gets little attention from the camera and almost no “non-focus identity”

As for Kagami, I may be too biased. *Any* positive Kagami/Marinette relationship is to me what Lukanette is to you. So naturally I have lots of opinions when it comes to her role ;) But can I just say that Adrien/Kagami is the weirdest ship for me? They have a few cute scenes and I think if they’d spend a lot more time together, they’d do each other good but I don’t know how they work. “No Hesitation” Kagami would lob Adrien’s head straight off with all his…everything. If we are meant to take Adrien’s love for LB seriously (and I guess we have to because how in the name of sanity is any form of the stated endgame gonna work otherwise???), how does Kagami fit into that picture as a girl who can hardly express emotions while Adrien is the definition of a  guy who can not stop flirting or goes for all kinds of romantic gestures? Sometimes it feels more like a “social fit” and “Mommy/Daddy approves” kind of deal which is quite the shame! Normally I like these kind of relationships in fictions but they need a solid underlining or good development. One they haven’t and one the series has not been giving to anyone so far.

Yeah, the whole thing with the love square versus side ships ends up feeling extremely forced. Keeping Luka away and forcing Adrien into Lukanette episode are the biggest giveaways, basically a big fat sign that says, “We know Marinette would forget that Adrien exists if she hung around Luka for more than five minutes.”

AND YEAH, KAGAMI WOULDN’T PUT UP WITH ADRIEN’S GARBAGE. I liked Adrimi but it’s definitely more flawed than Lukanette.

Anonymous said:

Watched your opinion on the New York special and I agree with you. It was mediocre at best. It could have been something nice, like if they added Kagami and Luka, for example, so that we can get a bit of development from the new couples on season 4, so that it doesn’t feel rushed when they start dating on season 4. It could also be a good opportunity to see the other temporary heroes one last time, since Marinette technically has the miracle box.

They could have had an epic fight with the American Superheroes, maybe even giving the bee miraculous temporally to Aeon or Jess so that we didn’t need to see their awful and uncreative superheroes designs. It would have been nice if they made something more useful other than being characters that believe that Adrien and Marinette are “Meant to be”, like, we already got a ton of these already, couldn’t we get someone who didn’t feel something about this ship? It has so much wasted potential that I don’t even know how to start. Do you agree with anything I said?

I agree, yes. They could’ve easily thrown Luka/Kagami into the mix (or had Marinette/Adrien stay behind while flipping perspectives or something; flawed but they could make it work).

Anonymous said:

I'm rereading ladybugout and wow... the moment of silence after "chat deserves that kiss" gets me every time. Everyone stopping and just staring because wow he really just said that

Me whenever Chat Noir opens his mouth in the show.

Anonymous said:

I saw the Backwarder post you just talked about and yes, it is so totally ridiculous. They forgot another thing, though. Miraculous isn't just about comedy, action, and romance, it's about embarrassing Marinette. And the fact that almost everyone in the comments was acting like the medicine scene at the end was funny was just stupid and saddening to hear or read about, because it shows how people have been conditioned to hate and rally against Marinette without even realizing it. Granted, there was one lady who said it reminded her of her husband, so I guess that's okay(but all it means is that Adrien will be Marinette's--aka "his lady's"--husband like eeerrrgh!). And there was one person who said they liked that Juleka's advice because "If you're friend isn't willing to commit crimes for your happiness, is she even your friend?". But everyone else liked the ending. And I don't get the person who said we got "Subtle progression with Adrien and Marinette". We're right where we started.

Weeeeell, I understand the “comedy, action, romance” comment because all of those basically boil down to embarrassing Marinette or invalidating her. Comedy and romance goes without saying while action involves her dealing with Chat “Nice Guy” Noir.

Anonymous said:

Is it just me, or does Snow White's "Red Shoes" form look a lot like Marinette. I know, I know, Marinette is Chinese and Red Shoes is Korean, but they still look strikingly similar. They're bodies are really similar, too, but that might just be because animation tends to use eerily similar body types for its female characters on a whole. It's sad and it makes me think of how cute Marinette would be if she was fat. I also think Snow White was cuter than Red Shoes but that's kind of the point.

I think it’s the body type thing but that’s just a guess since I didn’t immediately make the connection.

I agree that Snow White is cuter.

Anonymous said:

Am I the only one who's never liked "destined to fail" characters? Basically this is when characters aren't allowed to be good at/succeed at something or else the whole universe will somehow fall apart. Think of how in The Amazing World of Gumball, if Richard gets a job, the world will be in complete and utter chaos. So he's better off as a lazy, bumbling dad. In Phineas and Ferb, Candace is always trying to rat out her younger brothers but if she gives up or succeeds something bad will happen.

TV Tropes put it the best: "Not only is she not allowed to succeed, but she's also not allowed to stop trying!"(conveniently under the Cosmic Plaything trope). I just don't like it because it shows that the writers just want to lead them on with the promise of success then snatch it away at the last minute. And now we're back at Miraculous Ladybug, where Marinette is humiliated every time she doesn't sign a gift that's for Adrien, and yet when she does, everyone in Paris DIES. Except for...HIM.

you: *mentions Candace*

me: [a million awful flashbacks]

Also, yeah, it’s so hard to watch, especially in “Chat Blanc” because it’s like, “Oh, you want to give a gift to a boy and you dArEd to use your powers for it? Congrats, but everyone else is DEAD and you can hang out with him as much as you want! You’re welcome!”

Anonymous said:

I think it’d become a “faintest idea blackout card”rather than a bingo.

(referring to my “Faintest Idea” card)

We’re getting there.

darkmoonravewolf said:

I hate that everything on that list could happen and very likely will

(referring to “Didn’t Need Burrow”)

Yeah, and it makes me sad :’)

Anonymous said:

That’s be real here. Miraculous ladybug is not a show about Marinette; Miraculous Ladybug is a show about Adrien. Adrien is the real main character.

Notice that when they focused on Adrien in “Lies,” they only cut back to Marinette (IN A SCENE THAT CAN’T EXIST) to have her fawn over him.

Anonymous said:

Is it just me or are Lady Noire's eyes huge? Maybe it's just the green but they seem way bigger than Marinette's

I’m not sure, but considering Rena’s facial structure being different from Alya’s, it wouldn’t surprise me.

asexual-individual said:

With what you've said about Adrien lacking a reason to exist outside of development for Marinette and Gabriel, I have to wonder how different the show would be if Chat Noir's identity was also kept from the audience. Adrien would still be there as himself, but he only gets as much focus as Alya, and Chat Noir's identity is treated as a mystery (a Tuxedo Mask type mystery, but a mystery all the same).

I see what you mean but it might cause Adrien+Chat’s screentime to feel excessive once the reveal happens, because suddenly their screentime gets combined and it’s like, “oh wow so the combined screentime is his then.”

Anonymous said:

I know that the kwami's really only exist so we can hear our protagonists' thoughts outloud (like what the Coraline movie did with adding Wybie to the story). But honestly, what's the point in having magical gods in the jewelry if you're not going to do anything with them?

Marketing with “cute” side characters.

guisendisguise said:

It's funny, originally, I had shipped Marichat in the sense that Chat and Mari start hanging out and both fall in love with the other's supposedly less perfect, more real selves. Then Luka was introduced and I ended up putting both lukanette and marichat at the same level. Then S3 hit and killed any love I had for Marichat. The writers themselves killed the Love Square for me. At this point, it's very clear they are living in a delusion where the Love Square could ever work narratively without Deus ex Machina or Deus Lo Vult (God wills it). Basically, they've gone past scraping the bottom of the writing skills barrel and are now shoulder deep in the hole they dug thru the bottom of said barrel. I'd like to point out that the bottom of the barrel is writing poop and now they're digging thru the useless plastic landfill the barrel was sitting on top of

Uggggh, yeah. Any appreciation I could’ve had for Marichat died in “Weredad.” I already didn’t like Adrien/Chat and then “Weredad” just showed his complete lack of... well, ANYTHING.

cosmostellar said:

Honestly feels like MLBs writers are going based off the "JUST IMAGINE EVERY POC CHARACTER YOU'RE WRITING AS WHITE" instead of, yknow, fleshing them out while developing them also in the context of their cultures and giving them these little things that the audiences who belong to the same minority can identify with. I don't mean "have Marinette walk in qipao 24/7" bcs thats just... bad on its own but man, /some/ casual acknowledgments of her culture would be nice.

Reading the sentence “JUST IMAGINE EVERY POC CHARACTER YOU'RE WRITING AS WHITE” physically hurts me.

Anonymous said:

Ok, I've always thought that Chloe was robbed of redemption (they held it in front of us, but then jerked it away while Astruc says, "She's irredeemable! We thought she was redeemable, but she wasn't :)!" What are your thoughts! Also, I just recently found your blog and I really like it :)

Thank you!

But I have no sympathy for bully characters, so I didn’t want Chloe redeemed. Maybe I’m still bitter about my own bullying experience, but I just wasn’t here for Marinette being forced to forgive Chloe, which is basically what they did until they backpedaled.

The time spent on her was wasted though and that I can agree on.

Anonymous said:

Me: Writes a 1k rant about how the tweet makes no sense as the "mistake" is about motivation and not the critical plot. Also me: Remembers that in MLB the plot always comes back to the romance. Finally me: Wonders why he got involved with the series post-S3 when all the red flags were already everywhere.

Mistakes were made.

Anonymous said:

I'm semi-catching up on miraculous, and- is it my impression, or does Kagami rebel against her mother more in few episodes she's in (even though her mother's influences on her seem to be stronger in general), than Adrien in the entire show? I /know/ that I don't want to see Adrien free himself from his father w/ the desperation I want to see Kagami free herself from her mother and realize that the standards she's held up to are unhealthy and too strong.

Yeah, I’m way more invested in Kagami than Adrien.

Anonymous said:

Am I the only one confused about whether the staff stopped caring and half-asses the series or cares too much and over-produces the hell out of it?

Nah. It really feels like they secretly hate the love square so they have to keep forcing it.

Anonymous said:

ngl I haven't watched any new episodes since Chameleon and I've been getting all that Miraculous News via tumblr to avoid that Marinette Brand Second Hand Embarrassment™

Understandable.

Anonymous said:

If they aired the 6th one first WHAT WHAT HAPPENED TO LEAD UP TO THIS???? WE ARE ON SEASON FOUR WITH TWO SPEICALS, GETTING A THIRD, AND ANY DEVELOPMENT WE HAD HAS GONE BACKWARDS, SUCKED, OR STATUS QUO YO-ED AWAY!!!!! HOW THE HECK DO WE GET ADRIENETTE FROM FOUR SEASONS OF NOTHING?????? I USED TO FANGIRL AT THIS NOW I AM TERRIFIED.

Answer: We don’t get Adrienette. We get forced love square and rushed/fake “development” of it while being constantly confused as episodes air out of order.

Anonymous said:

im sorry But adrienette has been suck in this limbo of one sidedness for 3 seasons. neither of them have become closer, neither of them have confided in one another, but somehow people still ship it? at least luka was able to make a move on marinette lol adrien still repeats the same boring “shes just a friend” line. adrienette is a really boring ship.

lol don’t apologize, you’re absolutely right.

nahte123456 said:

Very minor bit of salt to throw to the pile, but can this show just decide on how strong Miraculous holders are? Yes it's a cartoon and not the focus but in the Furious Fu episode we literally get Ladybug dodging lighting and then Su who seems mostly human and is at least slower then Fu was outspeeding her. It's distracting trying to figure out what is and isn't a serious threat in this show.

The deciding factor in the strength of the miraculous holders is “whatever works for the plot.”

Anonymous said:

At this point the only thing I'm excited for concerning Miraculous Ladybug is when it gets a reboot in like, a decade with actually competent writers

Best case scenario is that Zag goes bankrupt and Disney/Netflix picks up the series and gives it to competent people.

Problem is that the love square has been ruined so badly for me that even a “good” version of it wouldn’t be something I’d be into, but still.

Anonymous said:

Honestly, the problem with having all of Marinette's mistakes result in huge disasters (ex. Feast), is that is gives off the impression that teenagers aren't allowed to make mistakes. This show clearly doesn't like giving second chances to the protagonist, so why would life give one to you? Am I right, kids?

Exactly.

Marinette makes mistakes and suddenly the world is ending.

Anonymous said:

If your gonna watch the show, at least pirate the episodes so the writers dont get your support

Don’t worry, I have no interest in financially supporting the show.

Anonymous said:

ml in a nutshell: wasted potential, then giving themselves more potential, only to turn the rest of it into a dumpster fire

Yup, that’s it.

Anonymous said:

u know, when My Little Pony, Sofia The First, and fanfiction carries out character development, respect, romance, and the main plot better than the original show, especially when the shows mentioned above are aimed more at little girls and the original show is aimed at slightly older audiences... somethings wrong

*sigh*

And then it’s like--people will excuse the show because “it’s a kids’ show” and then I’m just “okay then, why are there actually good kids’ show?”

If shows get a pass for being for children then all childrens’ shows should just not try and be garbage since the standard is so low.

Anonymous said:

ive seen some cool fic ideas/concepts/reviews that made me think: ml could use so much more looking into how a character thinks in some situations. one fic i read had alya in chameleon (i know its been forever since the ep came out but hey) not question lila cus she thought: "hey, lb wouldnt befriend a bad person" w and added a plot line of lila making her think lb was cobsidering replacing rena rougue. like, just a few lines to make them seem better pls?

YES. Like, show us characters’ perspectives and why they’re rolling with the facts that they’re rolling with, otherwise they just end up looking like jerks.

We sort of got it in “Ikari Gozen” with Kagami but of course it was just to make Marinette look bad.

Anonymous said:

You know I’m honestly considering making reviews of this show and if I do I could create hour long rants about the show just from that mans twitter.

Yeaaaaaah, once you had in the Twitter stuff, it just becomes, “okay so this is going to add another hour or two then.”

Anonymous said:

Okay one thing that bothers me is how plain marinette's suits are despite being a DESIGNER. Her multimouse suit it just blocks of color and her ladynoir suit is just grey with green lines. I think the lines are supposed to represent actually clothes. Like the limes on the calves are supposed to make it look like boots but why not actually GIVE her boots. (Right, because she has to have a skintight suit unlike the boys who get some layers.)

THE SHEER DISRESPECT OF HAVING THE FASHION DESIGNER WEAR SUCH A PLAIN SUIT.

It also goes to show who really designs here, like oh, interesting, the girls get skin-tight simplistic bodysuits and the boys gets all the cool stuff--

Anonymous said:

I heard some people in my class saying they watched Miraculous Ladybug for the first time, and they were saying how good it was, and I was like: 'Oh you poor fools. You have NO idea what it's truly like.'

You know what they say: ignorance is bliss.

bat-anon said:

Isn’t it INTERESTING how in Frozer, Luka understands that Marinette is torn between her crushes and continues to support her even though he knows she probably won’t chose him, and in the exact same episode Chat Noir refuses to help save the city because Ladybug told him AGAIN that she wasn’t romantically interested in him? HMMM 🤔😑

dbfgjbdfjkgf

I’M REMINDED OF “FELIX” WHERE IT’S LIKE--THEY WERE CLEARLY TRYING TO SHOW HOW MUCH “BETTER” CHAT NOIR IS THAN FELIX, BUT LUKA WAS THE RESPECTFUL ONE.

Anonymous said:

You know what I want to see? An evil kwami, like they just want to commit crimes. No moral high grounds, just chaotic evil.

That’d be amazing just because I wouldn’t be able to take them seriously.

Anonymous said:

Watching S1 and S3 episodes back to back, it feels like reading salt fics at times, especially in regards to the L². Like, Marinette was happy about weird plans, she both needed and wanted the final push, and most of the time there was at least something coming out of it. Nowadays it just makes her sad, Alya and the girls act *against* her, and we get shipping for shipping's sake.

That’s a good point. The shift from Seasons 1 to 2 to 3 is rather noticeable.

Anonymous said:

I hate how Adrien's busy schedule seems to only matter when it's used to make Marinette feel bad, but the second Marinette has a bit more to do, it somehow has a negative effect on not only her, but also everyone/everything she cares about, like, what's up with that??

I’m reminded of “Lies” here and I hate it. :|

Anonymous said:

Honestly, the way the show treats teenage girls is horse ass. The show treats the teenage girls of this show as if they're stupid, naive, emotional, clumsy, and need a boy to tell them what opinions to have. Marinette is always treated like the show's punching bag and blamed for everything that goes wrong because she's "emotional" or "obsessed with Adrien", Chloe could've been redeemed but the writers would rather keep her a brain-dead Alpha Bitch Valley Girl(even though Gabriel and Felix, the latter of whom is a teenage boy introduced in one episode, get to be treated as redeemable, despite the things they do being far, far worse), and Lila is a conniving, self-absorbed fox.

And even though Kagami seems better, she's still roped into the "girls catfight over an oblivious guy" cliche and so far, all of her akumatizations have been because of Adrien. Whenever Marinette tries to move on from Adrien the other characters tell her what's good for her and steer her in the "right" direction because she apparently can't think for herself, and the writers LOVE to use the girl squad to tell us who Marinette should be with, because they apparently know better than she does.

Plus the show loves to treat all the girls as the same, making them all either fight over Adrien or be obsessed with shipping, as if teenage girls are all one assimilating, homogenized group(also when they treat Marinette as if she's "just as bad as Chloe", rinse and repeat for the other ladies.). Honestly, the show feels like it was written by those types of people who think "teenage girls are the worst" so they make them all mood-swingy, obsessive, showoffs, emotional, and downright clingy.

Plus the way Thomas Astruc talks about the female characters on Twitter is even worse, and only serves to make this more evident: he claims Marinette "has poor control over her emotions"(all the while calling Adrien "perfect"), that Chloe was racist in Kung Food "because she's stupid"(so rather than having that scene serve as a lesson on respecting other's cultures, he just did it to pick on Chloe and make her look "stupid"), that she's incapable of being redeemed, that Lila's unlikable but Gabriel and Felix aren't(even though he claimed Felix was a terrible character and a "cliche", that's not what the show says my guy), and other such nonsense.

Other Twitter users have also called out Miraculous Ladybug and its stereotypical treatment of teenage girls. The only shows I've ever seen do this worse are those pretentious "darker" Magical Girl "deconstructions" aimed at grown men such as Madoka Magica and Yuki Yuna, as well as most shonen/seinen shows such as Naruto and Death Note, which says a lot. Honestly, whenever I feel like watching a show with empowering and respectful depictions of teenage girls that treats them as bright and intelligent and actually unique from one another, I just watch Equestria Girls, Liv and Maddie, LoliRock, ANT Farm, Moesha, PreCure, or Sailor Moon. Because the way the show acts towards them is deplorable, absolutely deplorable.

Yes to all of the above. Almost all of the girls are involved in love affairs in some way, the two teenage girls are irredeemable while Felix got a sympathetic backstory right away (Chloe took forever to get hers which is a failure), and Marinette is flawed because she’s “too emotional” (a misogynistic stereotype).

Anonymous said:

Hi, I'm the anon who got upset at the lady who made the "Miraculous Ladybug is a Mess" rant, and yes, thank you zodiacspirit17 for liking and agreeing with my rant! I'm glad someone else saw that video! And ugh, Marinette learning to love Chat Noir? Really? I don't remember that line but I also don't want to go back and revisit it to make sure so I'll take your word for it. Ew. That was actually one of the things I hated about the Glaciator scene. Chat was supposedly comforting Marinette by taking her to the rooftop where he planned Ladybug's date, and yet only Marinette finds out about Chat's crush on Ladybug and comforts him on that(while rethinking her feelings), while all Chat knows is that Marinette's heart was also broken. He never asks who it is, or tries to help her get over her crush even if he doesn't know it's coincidentally him.

I know it's because of the "love square" but it's unfair that only Chat's love problems are directly addressed. Come to think of it, the reason Chat took Marinette to the rooftop...I know he was doing it in-universe to help her instead of intruding on her personal feelings(which might have also been why he didn't ask her who her crush was, he was probably thinking along the lines of "we don't have to talk about it right now, we can just have fun!"), but meta-wise, since we know she's Ladybug, the writers were probably trying to tell her "See? This is what you could've been doing, but you missed it. Shame on you!" That's a huge issue I have with the show: characters will do things in-universe to help Marinette, but the show has a different motive in mind. Compare to how Tikki gave actual advice to Marinette in Puppeteer 2, but the writers intended that for the statue scene so they could embarrass her in front of Adrien and the thousands of eyes watching the show(except we're not laughing.). Even if characters do support her, the writer is using them as props for her ritualized humiliation. And yet Luka is the problem somehow.

If Marinette needs to learn how to love Chat Noir, then it should at least be balanced out by Adrien learning to Marinette. I'm sick of this double standard that "girls need to learn to accept boys who like them but guys can do what they want". Another thing she said was that "Marinette needs to learn to define herself outside of who she's crushing on." NOPE. NOPE. NOPE. You see, unlike Adrien, Marinette HAS a life outside of who she's crushing on: she has school, she has Kitty Section, she has her "girl squad", she has her parents, she has her outside family, she babysits Alya's and Nino's siblings, and she has OH YEAH HER FASHION DESIGNING! I didn't even count being a superhero since Adrien does that, too. She has so many things to do outside of Adrien, and yet the fact that she makes gifts for Adrien or dreams about Adrien or wants to have kids with Adrien somehow makes her nothing but an "Adrien fangirl"?

First of all, she's the bloody protagonist?! That's such a "Real Women Don't Wear Dresses" argument, that she can't have her own life AND be in love at the same time! And somehow her crushing on Luka also means her life revolves around him, too! But Adrien's life doesn't revolve around Ladybug even though he doesn't really have anything going for him in his ordinary life? Outside of being rich, hot, white, and male, that is? What are his interests and hobbies, besides what Gabriel lets him do to pass the time? He doesn't even like modeling! And the Agreste plot is more about Gabriel, Emilie, and Nathalie than it is about him.

And what about his friendship with Nino? He didn't even care that Nino was getting strung along by Lila with the others! What about his friendship with Chloe that also waxes and wanes? Granted, Chloe's not a GOOD person, which that lady acknowledged, but she at least tried to change and has more development than him, the writers just won't let her change. I hate when people come for Marinette for doing literally anything when the show won't let her have agency and progress. It's so unfair of her and I wish they could see that. These double standards are driving me insane and they're sexist(maybe even a little bit racist, too), and it hurts even more when a woman's doing those things.

(I had to cut off some of this ask because I didn’t get all of it, so I cut it off at the point where it still seemed like a full ask.)

I FEEL THE “GLACIATOR” THING SO BAD. It hurts even worse when you realize that “Frozer” has to take place after “Glaciator,” so Chat Noir heard that Marinette has love problems and then ignored it to ask her for advice about his own love problems later on. The total lack of insensitivity???

Also, the idea that Marinette’s life would revolve around her crush on Luka is stupid. It’s the exact opposite, in fact.

Meanwhile, Adrien has so little going for him and the “interesting” parts of him involve who he’s connected to or what his father has forced him into.

[sokkastyles]

I read a pro-Ma/iko take a few weeks ago and I would love your insight because I couldn't put into words why it's so 'ick' to me. The post referenced to all the times someone tried to/has touched Zuko's scar. It went something like: 'Katara touching his scar was insignificant because it was a superficial way of 'healing' him (i.e. she was a means to an end for him) but also bc she doesn't 'know' him. While Mai touching it meant she still saw him as the same Zuko and was trying to comfort him.

Okay, so there’s a couple of things going on here so I’m going to address these two arguments seperately:

1) Katara touching Zuko’s scar to heal it is insignificant because it was superficial and she doesn’t know him.

2) Mai touching Zuko’s scar means she sees him as the same Zuko and was trying to comfort him.

I heavily disagree with both of these arguments and not even from a shipping POV, but as someone with a disability that affects the way I look, even though mine is very minor compared to Zuko’s.

I actually have said that Katara’s offer to heal Zuko’s scar was a superficial healing and not what he really needed, but that doesn’t mean the offer itself wasn’t meaningful. Zuko didn’t need to have the scar healed in that moment, and I’m so glad he didn’t because I am very opposed to narratives in which disabilities and disfigurements get magicked away (*stares intently at Netflix’s Witcher) but it was the first time that someone had offered him the possibility of healing, and Zuko’s reaction to that tells you how much that meant to him. He’s totally blindsided by the offer not just because what she’s saying sounds impossible (and I tend to think Zuko had no idea that waterbending could be used for healing, and when she offered to heal Iroh he was not at all in a place to listen), but because he’s used to viewing the scar as a representation of his own failures. He sees it as a burden he has to bear, something he has to constantly make up for. That’s essentially what he says in his speech to Katara. Even when he says he has realized lately that he can choose what to make of it, he emphasizes the idea that it’s something he will never be free of. Katara saying “maybe you could be free of it” is important not really for the offer to have the scar erased, which isn’t what Zuko needed, nor would it make him magically switch sides, but because she’s offering a totally alternate perspective on the scar. What if you didn’t have to bear this burden? What if you never had to in the first place?

And that totally shakes Zuko because it’s the first time someone empathized with him over the scar, knowing who he was, knowing what he’s done and where he’s come from, but not actually knowing the details of how he got it.

Iroh tells Zuko all the time that he didn’t deserve how Ozai treated him, not necessarily in words but in actions. And Iroh was there, Iroh knows the whole story intimately. Iroh watched as Zuko was burned. People like Song and Jet who empathize over the scar but assume he got it while fighting the Fire Nation can’t truly empathize because if they did know who he was, they would hate him. And, in fact, Jet turns against Zuko as soon as he learns he’s a firebender (even if only by association, Jet never saw Zuko firebend, just Iroh).

But Katara knows exactly who he is. And she does hold him accountable for what he’s done. But then she sees something different, when he apologizes to her, and when she realizes that he’s another kid like her who has lost their mother. And unlike Iroh, she doesn’t know how he got the scar. She doesn’t know how his family has hurt him, beyond the one thing he said about his mother (which could have meant a hundred different things). And she could have made all sorts of assumptions about the scar. She could have thought that maybe he deserved what happened to him, maybe he’s just a violent person who got burned doing something violent. Zuko might think that if she knew she would think the same thing that a lot of people both in the Fire Nation and outside of it think (like the guy in the Earth Kingdom village in “Zuko Alone”), that the scar showed how much of a disgrace he was, a failure, a weakling, not even his father wants him. But she doesn’t make any of those assumptions despite not really knowing him. She just sees someone who was hurt and it doesn’t matter to her how or why, all that matters to her is that she can do something about it, and if she can, it would be against her character not to try.

That’s a very powerful disability-friendly message because she’s not ignoring the scar, she’s not looking past it, and she’s no longer seeing him as “the face of the enemy,” she’s accepting him without judgement and telling him that this pain that he carries because of his scar is something that is not and never was his fault. She sees someone who needs help and she offers it.

As for Mai, @firelxdykatara wrote a great post that pointed out that it’s not even clear that Mai is supposed to be touching his scar, and I agree. She’s just touching him and the scar is just there. Which I guess you could say means she sees him as the same Zuko, but there are a couple of problems with this. One, the fact that the writers didn’t bother to flesh out her relationship with Zuko pre-series really puts a damper on this. We have no idea what their relationship was prior to them getting together in season three. All we know is that Mai thought he was kinda cute. What does “the same Zuko” mean to Mai? How does Mai feel about being away from him for three years? We don’t know, and in their very first scene as a couple Mai literally tells us, the audience, and Zuko that she doesn’t care to know, either.

The second issue is that he is NOT the same Zuko. He is not the same. He can never be the same. This is something that should be addressed between them, not only because it’s a major trauma that represents how his life has been drastically altered in the past three years, but because it would affect how they are intimate with each other. How does Zuko feel about the scar being touched? How does Mai feel about it? Is the scarred area overly sensitive? Does he have pain? Does he have nerve damage? How much vision/hearing/tactile sensation does he have on that side? All of those are things that would realistically affect their relationship. I don’t necessarily expect the show to address them but the point is this: he is not the same. The scar is a part of him. Disabilities/disfigurements are not something to look past. They are a part of the person. And in the case when someone acquires a disability, they will be the same in some ways but different in others, and that’s something that a romantic partner has to accept. Unfortunately for Mai, the narrative mostly uses their relationship to show how Zuko is not the same as he was before and can never be, nor should he want to be.

[spoadicdeviance]

When “Anger Always Wins In The End”: The Story of X-Play vs Skyward Sword

Gather around the Barcalounger over by the fireplace friends, family, and those who only come to the Skyward Sword tag to bash the game in question. Old SporadicDeviance is going to tell you a tale that harkens back from the far distant past of 2011. It’s going to be a quite a long story, so you might want to get comfy.

The Legend of Zelda Skyward Sword was making its rounds across the mainstream game review circuit, largely earning 9′s and 10′s across the boards. The game also ended becoming one of the very few games to earn perfect scores from both EDGE magazine and Famitsu. Talks of potential Game of the Year awards were already underway. 

Yes it seemed Skyward Sword would experience nothing but smooth sailing when it comes to the gaming media.

Enter X-Play; the TV show focused on game coverage airing on the network dedicated to gaming and technology (in the sense that MTV used to be dedicated to music) G4.

Starting in summer 1998, as GameSpot TV, and ultimately concluding its run by the start of 2013, this show was perhaps the most popular source of game reviews in its heyday. In fact, with the shows propensity to include heavy layers of snark and cynicism in their reviews, as well as having the tendency of preforming comedic skits based on the various games they covered, one could say that X-Play was one of the progenitors of various online independent game reviewers that started from around 2006 and continue to the present day.

“Why bring up the show’s history?” One may ask. Well its important to establish that the programs was very popular with a substantial viewership, even in its final years of broadcast.

Which brings us to the moment that X-Play and Skyward Sword crossed paths.

It all started with the shows review of the game and the program ultimately giving Skyward Sword an overall score of a 4 out of 5. This caused a bit of stir amongst X-Play’s audience.

Now, on the surface, a score like that wouldn’t appear to be anything to really harp on about. Sure, a 4 out of 5 score was on the lower end of the range of scores Skyward Sword was receiving at the time. Nevertheless, a 4 out of 5 was still overall a good score. 

However, as said before, this is all surface level. To get a full understanding of why some gamers were questioning X-Play’s review, you have to look at both how X-Play defines its rating scale as well as the content of the review itself, beyond the final score.

First let’s talk about X-Play’s ratings scale. In 2011 the program updated the meaning behind each of the five different ratings. For a game to earn a 5 out of 5, the game would have to “realize all ambitions of its design” while a 4 out of 5 game would only accomplish most of its goals.

Well Skyward Sword’s goal was to be the proof of concept on what the Wii’s intent was as a console. The game’s ambition was to show the world that motion controls not only be practical as the primary means of control for a AAA game but also in some ways surpass traditional controls in terms of immersion and practicality. Does that mean by giving Skyward Sword a 4 out of 5, X-Play thinks Skyward Sword didn’t fully accomplish its ambition?

No. They didn’t think Skyward Sword failed in that regard. In fact, in their review of the game, X-Play stated that despite initial skepticism on Skyward Sword going all in on motion controls, hosts Adam Sessler and Morgan Webb were pleasantly shocked with how good the controls felt, saying that the Wii-Motion Plus controls were fluid, responsive, seamless, and never frustrating. They also stated that if all Wii games controlled just was well as Skyward Sword then a large majority of complaints lobbied against the system would never have materialized.

So what caused the show to give Skyward Sword a 4 out of 5? According to X-Play’s 2011 rating system and game needs to have “minor flaws” on order to get a 4 out of 5 score. So what did X-Play think were said flaws?

Well X-Play used the trite “revisit certain areas of the game” non-criticism that I’ve already touched on in a prior post. It’s weird since games like Metroid Prime also used backtracking and X-Play still gave those games perfect 5 out of 5 scores.

They also said that there wasn’t much to do in the Sky overworld, which is outright wrong considering all of the goddess treasures and various sky islands that have their own minigames/sub quests to do. Yes its mainly side content but almost every Zelda overworlds are mainly used for side content and linking the various areas in the map. I think I’ll go more in depth on the whole “The Sky is too empty.” criticism in another post.

Then they complained about how your shield can break and you would have to go back to Skyloft in order to purchase a new shield. Seriously? This is like when people complain that in Banjo Kazooie, when you die, you have to recollect all the music notes. That’s the point. The game is punishing you for messing up during the combat. Also the game doesn’t force you to purchase a new shield. You can play the game without a shield if you choose to do so.

I would say the shield bit is the worst criticism in the review if it wasn’t for the frankly dumb, and hilarious in hindsight, critique of Skyward Sword’s crafting system. Adam called the system “grindy” and said that crafting doesn’t fit in a Zelda game. Considering how Breath of the Wild not only has a crafting system, but also, by X-Play’s standards, made it more grindy than it was in Skyward Sword, I think even Skyward Sword’s biggest detractors can call this assessment of Skyward Sword crafting system half-baked at best.

And those were the flaws X-Play found in Skyward Sword. Even if those critiques were legitimate, and let’s face it they’re not, it doesn’t seem like these flaws are enough to justify docking Skyward Sword an entire point in a 5 point rating system, does it?

Well according to a lot of fans of the show, it wasn’t. Fans were speculating that X-Play wasn’t really sincere in their giving Skyward Sword a 4 out of 5. Some thinking that they set out to not give the game a perfect score and were grasping at straws trying to find any justification for their score, rather than have their final score come naturally as they played/reviewed the game.

By all accounts, Skyward Sword seemed to have been more deserving of a 5 out of 5 score rather than a 4 out of 5, according to a lot of X-Play’s viewership. 

Viewer response to Skyward Sword’s 4 out of 5 score might have been the primary reason X-Play revamped their ratings scale the following year, using “half-stars” in its ratings (ultimately making the rating system a 10 point scale) as well as reworking the conditions for a 5 out of 5 score. Now for a game to achieve a 5 out of 5 a game doesn’t have to achieve all of its design ambitions and merely not have any “issues” which would result in a 4 out of 5.

My suspicion that the viewer response to the Skyward Sword review was the catalyst for the change is only strengthened by the fact that X-Play used Skyward Sword as their example of a 4 out of 5 game in their new ratings system. 

But despite all that, the backlash to X-Play’s review was relatively minor, especially compared to the backlash a certain other professional reviewer got for giving Skyward Sword a lower score compared to X-Play, but that’s a tale for another time.

This isn’t the main part of the the story. X-Play’s review of Skyward Sword and the viewer response to said review were all the primer for the centerpiece of this tale.

It’s now time for the awards season. All the various gaming publications were nominating and awarding the best games of 2011. Skyward Sword managed to get itself plenty of nominations, including Overall Game of the Year from publications like EDGE.

But what about X-Play? What awards did they nominate Skyward Sword for?

Did X-Play nominate Skyward Sword for Game of the Year? 

No.

Did X-Play nominate Skyward Sword for Best Action/Adventure Game? 

No

Did X-Play nominate Skyward Sword for Most Innovative Game? 

No. .

Did X-Play nominate Skyward Sword for Best Story? 

No.

Did X-Play nominate Skyward Sword for Best Art Direction? 

No.

All Skyward Sword was nominated for were Best Soundtrack and Best Motion Controls.

And you want to know the really messed up part; Skyward Sword only won for Best Soundtrack and lost the Best Motion Controls award to Dance Central 2. Let that sink for a beat. DDR Kinect 2 Dance Central 2 apparently had better motion controls than Skyward Sword according to X-Play. This despite of all the praise the show gave Skyward Sword’s controls in its review. This is like when the Queen bio-pic, Bohemian Rhapsody, won the Oscar for “Best Editing”. Are you kidding me?! But I digress.

Needless to say, if viewers were just a little peeved with X-Play’s review of Skyward Sword, they were outright mad with how the show basically snubbed Skyward Sword from its award show. 

The vast majority of gamers felt that, even if the game would ultimately not win many awards, Skyward Sword should have at least had more than two (relatively minor) award nominations and should have been nominated for Game of the Year. X-Play was being called out, rightfully so, for not giving Skyward Sword its fair dues.

But all was not lost for Skyward Sword, for while X-Play would have full control on which games were nominated and which game would win the majority the awards, the fans would have their own say for one certain award.

G4 decided to do what they called a “Videogame Deathmatch”. This was basically a tournament consisting of 32 games released in 2011. 

Each round would have multiple games paired off to face off against each other. The general public would go online and vote for one of the two games in each match to go on to the next round. The first round had people vote between 16 pairs of games. The next round would have 8. Etc. Etc. This would culminate in a final round where the two winners of each side of the bracket would face off and the people would vote between these last two games to decide which game would win the tournament and would receive the Viewer’s Choice Award at  X-Play’s Best of 2011 Award Show.

Skyward Sword was one of the 32 games selected for the tournament, whether it was because G4 honestly thought the game deserved a chance to win or they were simply trying to placate fans of the game.

I would say the latter because the side of the bracket Skyward Sword was on was definitely the more competitive side of the two. How more competitive? Well while the side of the bracket Skyward Sword was on had games like Portal 2, Minecraft, Uncharted 3, Batman Arkham City and The Elder Scroll V: Skyrim, the game that would become the finalist for the other side of the bracket was Assassin’s Creed: Revelations. Does that answer your question?

So Skyward Sword faced some stiff competition. It really seemed like G4 and X-Play did not want Skyward Sword to win this tournament so they made sure it would go head to head against some of the most popular games of 2011. It was going to be a miracle if Skyward Sword made it to the final round.

Well let me tell you something; a miracle did occur that year.

In round 1, Skyward Sword went up against Uncharted 3, the flagship PS3 title of 2011, and the fans voted for Skyward Sword over Uncharted 3.

In round 2, Skyward sword went head to head against Fifa 12, the latest entry of the videogame series based off of the most popular sport in the world, and the majority chose Skyward Sword over Fifa 12. 

In round 3, Skyward Sword faced off against Batman Arkham City, the game that is considered to be one of the greatest superhero games ever made (if not the greatest), and Skyward Sword got more votes than Batman Arkham City.

In the semi-finals, Skyward Sword went one on one against The Elder Scrolls V: Skyrim, one of the best selling games of all time, and the gamers chose The Legend of Zelda Skyward Sword over Skyrim.

Needless to say when Skyward Sword went up against Assassin’s Creed: Revelations, a game that even fans of the Assassin’s Creed franchise don’t hold in the highest regards (at least it’s not Unity?) in the final round, the vote went overwhelmingly in Skyward Sword’s favor.

The end result was that Skyward Sword won G4TV’s Videogame Deathmatch: Best of 2011 Tournament and was awarded the Viewer’s Choice Award for 2011.

Now when it came time to officially announce the winner of the winner of the Viewer’s Choice Award during the televised award ceremony, how do you think the hosts handled the situation?

Well take a look for yourself with this Youtube video archiving X-Play’s award show that year. (Timestamp 34:04-35:25)

They start out by saying how close the matchup between Skyward Sword and Assassin’s Creed: Revelations was, despite the fact that by accounts of those who participated in the voting process, Assassin’s Creed never got more than 40% of the votes in the final round, but that can be chalked up as theatrics for the audience.

When they reveal to the audience that Skyward Sword won the final round and in turn won the Viewer’s Choice Award, you can juts tell that Adam Sessler is not happy with the results. The way he’s moving his body. His tense face and pursed lips. The sarcastic tone in his voice as he calls Skyward Sword “Nintendo’s love letter to motion controls”.

Adam is not happy that the game he and the rest of the staff at X-Play snubbed from their award ceremony not only won the Viewer’s Choice Award but also beat two of their nominees for Game of the Year, including their choice for overall Game of the Year, in the process.

At this point, most people think it would be best for Adam to just accept the results for what they are, give Skyward Sword a proper congratulations, and move on with the next award of the night, in spite of Adam’s personal feelings towards the situation. Just be professional. That’s all Adam needed to do.

Most would think that, but Adam Sessler is not most people.

As the hosts were talking about Skyward Sword’s win, Blair Herter made a passing comment saying that the Nintendo fanbase being “enraged” over Skyward Sword not being nominated for Game of the Year helped Skyward Sword win the Viewer’s Choice Award.

Adam immediately jumped on that by adding with and I quote;

“Enraged? That’s a-th-th-that’s a nice term. It was close race, but ANGER always wins in the end.”

Wow. I mean wow. Not even the Red Sea is as salty as Adam Sessler was with that comment.

He couldn’t just take the L like an adult and move on. He felt like he had to get the final word on the matter. 

It’s like Adam wants to say the Viewer’s Choice Award doesn’t really count because the vote didn’t go the way he wanted. This is, ironically, the kind of immature fanboy behavior Adam is trying to make fun of. It makes it seem like Adam thinks he’s above the “unwashed masses” that participated in the Videogame Deathmatch voting process. 

Regardless on if you think Skyward Sword deserved to win the tournament, you must admit that this was bad look on Adam’s part.

Now I don’t want to end this post on a bittersweet note so I want you to think about what actually happened. 

Skyward Sword is so beloved by the majority of gamers that when a review show as big as X-Play tried to downplay the game’s quality as well snub the game from its best of the year award show, the gamers respond by making sure Skyward Sword won the title of the Viewer’s Choice awards.

And this is one of several time where when major reviewer publications/programs reached out to their audience, the gamers, to get their take on what game they felt was the best game of 2011, and The Legend of Zelda Skyward Sword was chosen by said gamers as the the best game of that year.

It’s funny because whenever I bring up that point, the minority of Skyward Sword detractors try to make up some excuse to delegitimize Skyward Sword winning the viewer’s choice award.

When I mention Skyward Sword winning IGN’s viewer’s choice award, or when Skyward Sword was voted the number one, best game of 2011 by the fans of ScrewAttack, they say “Oh that’s because fans of Skyrim, Batman Arkham City, Portal 2, and so on were divided amongst themselves while Nintendo fans were united in their support for Skyward Sword. If the poll wasn’t a free for all, Skyward Sword wouldn’t win.”

Well here’s another instance of Skyward Sword winning a viewer’s choice award; Skyward Sword had to go one-on-one against multiple games in order to win the viewer’s choice award. Skyward Sword got more votes than some of the most popular, well reviewed, and highest selling games of that year. More gamers preferred Skyward Sword over Uncharted 3, Arkham City, and Skyrim.

I think all of that, along with how Skyward Sword was considered the best game of 2011 by ScrewAttack and IGN users, and how people are hyped for the HD rerelease, it’s safe to say that despite what some vocal people may try to say otherwise, The Legend of Zelda Skyward Sword is a game that is far more beloved by gamers than it  is “divisive”. 

[sunsetcarnation264]

So, uh, that DT17 finale huh?

I would've made this right after I watched the finale, but I wanted to give it a bit of time to sink in fully and made sure I thought everything through before giving my thoughts on it. Not the worst finale there is, but it definitely could've been way better in my opinion. I've heard about the finale from my friends who've seen it, which from the sounds of it I already wasn't liking it, but since I've seen the finale now, how I feel about it is now concrete and set in stone and I feel the same as before. Maybe how I feel about it is in the minority side, or maybe a majority side, I dunno but I don't care. It's not the best it could've been and I'll explain why below. If you like it, good for you I guess because everyone's tastes are different, but I personally don't and I feel like the show deserves a much better finale than this. HEAVY DUTY DISCLAIMER: Just because I'm criticizing the finale doesn't mean I don't love the series, in fact it's because I love the show that I'm giving criticism and give what I would’ve done instead, and if you're anything like me and you're hella late to the party then there'll be spoilers for the finale. If you haven't caught up on the last episode, then you're not missing much honestly, but if you don't like spoilers regardless then watch that first then come back

The first part of the finale starts off like any other DuckTales 2017 episode. It's Webby's birthday, everyone's keeping their eyes out for F.O.W.L. shit, and Webby's enjoying herself. After a bit everyone goes below Funso's and they end up in F.O.W.L.'s territory. F.O.W.L. sets everything up to be on self-destruct, so they gotta find them and stop the self-destruction. They did happen to do the latter, but the F.O.W.L. members already escaped with almost everything. Just almost. The gang end up finding May and June, who're clones and they presume they're clones of Webby. Now this is where I'm starting to not like the finale. Yeah, you can do clones as like a plot twist, but at the same time it feels a bit outta nowhere. Had they foreshadowed it in another episode or have it lead up to the whole "oh shit there's clones of a character we know and love" thing then I wouldn't have a problem, but this came outta nowhere and I kept an eye on possible foreshadowing during season 3 and the rest of season 2 post The Duck Knight Returns too so I would've picked something up. The only thing that could count as foreshadowing was when Beakley promised Webby that she won't keep anymore secrets from her and the harp was saying "fibbing fibbing fibbing", but that's just it. Part two of the finale, Gyro does tests on them to see who they might've been clones of. He tries to tell everyone what the results are but when Scrooge asks him, he said it didn't come up with anything for him to answer the question. Beakley thinks they're both dangerous and locks them up in a closet. Webby, being a naive little girl, wants to talk to them because they're essentially her 'sisters' and she wants to know them more even though Beakley straight up tells her not to interact with them. Webby disregards what Beakley says anyways and she frees them, talks to them, and tries to show them her family tree so they can figure out where May and June came from. May and June are basically like "ehhhh this is your family tree? Who tf are you related to besides Beakley?" yeah, as if extended family or found family still ain't family you jerks. In the meantime, Louie just wants to watch his Ottoman Empire finale which ends up being shitty foreshadowing for the last part of this finale. You'll see why I mentioned this later. They even see Lena and Violet on there and are like "okay but who're those" which Webby responds with how they're her best friends and guess what one of the two clones goes to do? One of them grabs scissors and tries to cut it. When she does cut it, Lena's like "aw hell no bitch" and uses magic on her. Webby being Webby, is completely upset about this because "that was my sister how could you do that" and runs off like how one of the clones ran off. Bitch you only knew her for like five seconds, just because y'all be related don't mean you automatically THIS close to each other like how you are with Lena, Violet, Huey, Dewey, Louie, and anybody else in the McDuck family. I personally believe that love, trust, and respect is what makes people family, not blood/DNA, adoption, or they were married into the family or a step sib/kid/etc. If they're a harmful dick (i.e. a bigot who's queerphobic and/or racist or if they're an abuser, murderer, etc.) then you don't gotta treat them like family or say that they're your family. But anyways we're probs getting off topic, point is that she should trust those who she's known forever instead of clones she knew for a few minutes. Everybody tries to find Webby and one of the clones that ran off. Webby bumped into Beakley as she was tryna find May or June (I think May tho, don't recall) and she tries to lie her way outta it but Beakley knows what's up lol. She says that Webby wants to see the clones, Webby goes with it, and the younger duck wants to know who her parents were. Beakley tells her who her parents were (which might've either been a lie or she was describing herself and a late significant other that we've seen in Webby's picture of her parents) and Webby accepts it. Cut to later when she catches May and June trying to steal the ancient artifacts that Scrooge and co. retrieved during the entirety of season 3. She's shocked that they're even doing this, they all fight each other, and May escaped while June got knocked out. Webby disguises herself as June while she takes her outside where F.O.W.L. awaited them with an aircraft, most importantly Bradford. We only find out Webby was disguising herself as June when everyone got on. Huey notices what's going on and he goes after them, somewhat hiding in the aircraft before everyone leaves for the F.O.W.L. hideout. Not gonna lie, that was a pretty smart plan by Webby. Considering they all look identical and Webby's good at imitation, she can actually get away with this pretty well. This I actually really like and I wouldn't change too much about this. When Huey reveals himself to the three, Webby reveals herself to him but tells him to play along so they ain't fucked over. Somewhat worked. Webby keeps making little slips here and there which makes May hella suspicious of her. They land at the hideout, Webby tries to get what info she can while Huey's taken away. Thanks to the help of Pepper (who I love btw and I think deserves the best ;____;), Webby ends up finding the document room where there's documents on May, June, and a third person with the codename of April. She watches it and oh, shit, it turns out Bentina Beakley actually snatched her ass from F.O.W.L. when she was a baby! What a shocker! She couldn't believe what she was seeing! This is actually fine to me, her possibly being a clone actually makes sense because she could've been a clone of Beakley. Plus it's also a huge reference to how Webby was created to be a combination of Daisy's nieces April, May, and June back in the original series, though I dunno how many people would catch that, especially younger fans who might not have done the research to getting all of the references and easter eggs here. When Beakley was brought in (essentially she knocked Scrooge out without hurting him, went to here alone to take care of F.O.W.L. once and for all just for Webby, but got defeated along with some of the McDucks), everyone leaves Beakley, Webby, and the Harp alone and Webby somewhat confronts Beakley about her past. Needless to say, Webby ain't excited about this and she gets captured and tied up. She's actually pretty depressed, which I mean in a way I don't blame her since she wanted to know if that shit was real or if F.O.W.L. was fabricating it. Cut to Huey being brought to Bradford. Apparently he was a fellow Woodchuck too, though he wasn't the best despite being the very first Woodchuck by his grandmother Isabella Finch, in fact he was the worst which hahaha yeah I can actually believe that. It does explain why he hates adventures and all of that shit, one of the only things I'm willing to accept from the finale. He talks about how he wants to complete the collection "for the better" because Scrooge and everyone else in the family were the only ones to have Isabella's lost journal. Huey believes this at first. He stops believing it once he ends up finding Gyro and everyone else who're locked up. In the meantime, Bradford drags Webby out to a sort of box along with May and June. She doesn't know why she's brought up here. When she gets close to the box, the papyrus appears because... She's the descendant of... Of Scrooge McDuck. Okay no, JUST NAH MAN. This is where my biggest issue in the finale lies, the fact that she's a clone/made from Scrooge's DNA and is technically his "daughter". Not everybody has to be related to Scrooge McDuck to be great, in fact doing this to her actually ruins Webby's character. Her trope is "found family," not "I'm secretly part of the family this whole time and not even I knew it" and this fucks with it so badly. This show is about family, and all different kinds of it. Being taken care of by your uncles/aunts instead of your parents but still having a good relationship, some kids don't have parents and they're gone for whatever reason, being loved and accepted by other family members, some families are awful and abusive, hell some families have two same sex/gendered parents with a kid who's def adopted and one might've been adopted or been from a previous relationship, and it's also how sometimes we find people to call family because we found them and they found us. Webby was the one to fill in the finding those to find family alongside her grandma, but I feel like they're disregarding that just to have a huge plot twist. Again aside from Beakley keeping secrets from Webby, there was no foreshadowing and it makes a previous episode from season two (Nightmare on Killmotor Hill) seem kinda creepy in hindsight since she's over here wanting to be Scrooge himself, and creepy overall due to how obsessive she was over the whole McDuck family in general. You could say it's foreshadowing this whole time, since some people might actually be like this before realizing that "oh hey I'm actually related to this person" due to someone being adopted, given to someone else to take care of, divorce and each parent keeps one of the kids and they don't meet again until way later in life, which in a way is a fair point but at the same time not everyone's gonna notice this even when they look back at the previous episodes. If you're gonna do foreshadowing and a plot twist, you have to do it where looking back everyone can notice little details, not just a certain group of people, and you gotta make sure it's good. Every plot twist has it's foreshadowings, and every good one has a good amount for people to take a guess. Every bad plot twist, however, is either forced in just to shock the viewers or has shitty foreshadowing that's either extremely little or none. I will make a comparison between this and Steven Universe (which if you're still watching or haven't touched yet but haven't gotten up to season five, please skip this part to avoid spoilers for the show) because in Steven Universe, there were PLENTY of hints and foreshadowing that Rose Quartz was actually Pink Diamond and it was even a theory too that Rose was actually Pink, alongside a theory that Pearl was actually the one to shatter Pink Diamond and not Rose which ended up being true in a way that both fits. This was a good plot twist that everyone can watch the show from start to end once again and notice every little bits of details that led up to that plot twist reveal. (End of SU spoilers) This, however, isn't a good plot twist. It's a terrible one and, again, forced in, messy, and there's not enough foreshadowing that can be used to be like "oh I kinda saw that coming" or "oh shit!" and think it's a genuinely good twist. Also the fact that Webby called Scrooge "Dad" T W I C E in the finale, it doesn't sound right, I even voiced out loud that OH EW THAT DOESN'T FEEL RIGHT WHY ARE YOU CALLING HIM DAD THIS IS GROSS STOP IT LIKE JUST CALL HIM UNCLE SCROOGE LIKE YOU'VE ALWAYS DONE- Oh and this is meant to be a throwback to that Ottoman Empire finale foreshadowing thing from earlier btw lol The last few things I can note about this is the fight between Scrooge and Bradford, where the latter reveals that he was the one to tell Della about the Spear of Selene (which pisses Scrooge off so damn BADLY and it's the other thing I can accept from the finale, it seems like Bradford to do that shit), and the fact that Donald almost died for fucking good due to Bradford pushing his ass into a machine that can erase anything and everything from existence when put in there. He did so with his minions, so he has no qualms about doing so to Scrooge's family unless he signed the papyrus as a contract. Not that it worked anyways, since "family is the greatest adventure of all" which Bradford didn't understand one bit lol But the finale? Not good, the show deserved so much better and Huey deserved way better because this was his season. What I would've done differently is mainly how Webby is a "clone" or whatever you want to call her. It makes no sense for all of her DNA to be from Scrooge McDuck, which raises way too many questions. Why not Beakley? Why not a warrior from F.O.W.L. with a mix of McDuck DNA? Why is Webby a girl while Scrooge isn't? You could argue that oh he might be a trans guy, which while I absolutely LOVE trans and nonbinary headcanons (due to the fact I'm a nonbinary woman myself), it just feels like a cheap escape goat of an excuse to explain that and Scrooge being trans because of that? Ehhhhhhhhhhhhh it doesn't feel right to me. If it was a combination of him and Beakley, then okay I'd get why she's like that, but it still has the problem of her being related to the family DNA-wise. Same with the clones honestly. Now what I would do differently is make it where she's a clone of someone (def not Scrooge) and make it where she has an identity-existential crisis. Who is she really? Is she this "April" character, or if she Webby like she's always known herself as her whole life? In the end, she accepts that she's herself, Webby Vanderquack, granddaughter of Bentina Beakley and an ally of Scrooge McDuck. May and June, on the other hand, are possibly failed attempts to recreate Webby, the perfect clone, in order to get the papyrus to appear which in of itself never stated it had to be a DIRECT heir to Scrooge McDuck (it just states that it requires an heir of Scrooge McDuck) like a daughter/son or whatever. You can go back to the episode "The First Adventure" to look at the papyrus if you want, but he wrote that it was to an HEIR not a descendant. It heavily supports how they changed a shit ton of things before the last season being this year instead of idk, try to make it better because they finished voicing the lines in January this year when they started doing season three around the time we got season two. Bradford gets frustrated, wondering how it couldn't have worked because HE HAS WEBBY RIGHT HERE. What he didn't realize was that it could've been someone within the family itself, one who's considered the smart one out of the bunch that wasn't Scrooge McDuck himself, someone who's also a fellow Junior Woodchuck. And that would be Hubert Duck, in which season three is meant to be his season. When he gets close, the papyrus appears but Bradford snatches it and runs off with it so he can finish up that contract he's spent FOREVER to make and force Scrooge to write his name there. As with May and June, I dunno what I would do with them, but if I rewrite the finale at some point (which I would be doing now with my mom, who watched the finale with me because we tend to watch stuff a lot, but I can't at the moment because I have a list of stuff to make and I can't afford to make it longer than it already is along with my WIP list) I'll figure out what to do with them. Overall, the finale is a 4 out of 10 for me. Not horrible enough for it to be the worst finale ever in the history of shows/series, but it's definitely got a lot of things that bothered me too much to genuinely enjoy it without getting stuck on something for too long. Again if you like it, good for you, but personally? It should've been much better and the series deserves a proper finale. If there's no surprise movie to make it better, then I'ma just pretend this finale doesn't exist like nah bye bitch dunno you lmao Besides with how messy this finale is, I hope you guys enjoyed reading my thoughts on it and I hope you guys have a great day

[silvokrent]

RWBY Character Analysis: Pietro and Penny Polendina

Up until now I’ve been keeping quiet about my opinions on the newest volume, in no small part because my personal life has been one absurd setback after another, and I haven’t had the energy to engage in fandom meta. If you do want to know what my current opinion of RWBY is, go over to @itsclydebitches blog, search through her #rwby-recaps tag, and read every single one. At this point, her metas are basically an itemized list of all my grievances with the show. I highly recommend you check ’em out.

Or, if you don’t feel like reading several hours’ worth of recaps, then go find a sheet of paper, give yourself a papercut, and then squeeze a lemon into it. That should give you an accurate impression of my feelings.

In truth, I have a lot to say about the show, particularly how I think CRWBY has mishandled the plot, characters, tone, and intended message of their series. And while I enjoy dissecting RWBY with what amounts to mad scientist levels of glee, I think plenty of other folks have already discussed V7′s and V8′s various issues in greater depth and with far more eloquence. Any contribution I could theoretically make at this point would be somewhat redundant.

That being said, I’d like to talk about something that’s been bothering me for a while, which (to my knowledge) no one else in the fandom has brought up. (And feel free to correct me if I’m wrong.)

Today’s topic of concern is Pietro Polendina, and his relationship with Penny.

And because I’m absolutely certain this post is going to be controversial and summon anonymous armchair critics to fill my inbox with sweary claptrap, I may as well just come out and say it:

Pietro Polendina, as he’s currently portrayed in the show, is an inherently abusive parental figure.

Let me take a second to clarify that I don’t think it was RWBY’s intention to portray Pietro that way. Much like other aspects of the show, a lot of nuance is often lost when discussing the difference between intention versus implementation, or telling versus showing. It’s what happens when a writer tries to characterize a person one way, but in execution portrays them in an entirely different light. Compounding this problem is what feels like a series of rather myopic writing decisions that started as early as Volume 2, concerning Penny’s sense of agency, and how the canon would bear out the implications of an autonomous being grappling with her identity. It’s infuriating that the show has spent seven seasons staunchly refusing to ask any sort of ethical questions surrounding her existence, only to then—with minimal setup—give us Pietro’s “heartfelt” emotional breakdown when he has to choose between “saving” Penny or “sacrificing” her for the greater good.

Yeah, no thanks.

If we want to talk about why this moment read as hollow and insincere, we need to first make sure everyone’s on the same page.

Spoilers for V8.E5 - “Amity.” Let’s not waste any time.

In light of the newest episode and its—shall we say—questionable implications, I figured now was the best time to bring it up while the thoughts were still fresh in my mind. (Because nothing generates momentum quite like frothing-at-the-mouth rage.)

The first time we’re told anything about Pietro, it comes from an exchange between Penny and Ruby. From V2.E2 - “A Minor Hiccup.”

Penny: I've never been to another kingdom before. My father asked me not to venture out too far, but... You have to understand, my father loves me very much. He just worries a lot.

Ruby: Believe me, I know the feeling. But why not let us know you were okay?

Penny: I…was asked not to talk to you. Or Weiss. Or Blake. Or Yang. Anybody, really.

Ruby: Was your dad that upset?

Penny: No, it wasn’t my father.

The scene immediately diverts our attention to a public unveiling of the AK-200. A hologram of James Ironwood is presenting this newest model of Atlesian Knight to a crowd of enthusiastic spectators, along with the Atlesian Paladin, a piloted mech. During the demonstration, James informs his audience that Atlas’ military created them with the intent of removing people from the battlefield and mitigating casualties (presumably against Grimm).

Penny is quickly spotted by several soldiers, and flees. Ruby follows, and in the process the two are nearly hit by a truck. Penny’s display of strength draws a crowd and prompts her to retreat into an alley, where Ruby learns that Penny isn’t “a real girl.”

This scene continues in the next episode, “Painting the Town…”

Penny: Most girls are born, but I was made. I’m the world’s first synthetic person capable of generating an Aura. [Averts her gaze.] I’m not real…

After Ruby assures her that no, you don’t have to be organic in order to have personhood, Penny proceeds to hug her with slightly more force than necessary.

Ruby: [Muffled noise of pain.] I can see why your father would want to protect such a delicate flower!

Penny: [Releases Ruby.] Oh, he’s very sweet! My father’s the one that built me! I’m sure you would love him.

Ruby: Wow. He built you all by himself?

Penny: Well, almost! He had some help from Mr. Ironwood.

Ruby: The general? Wait, is that why those soldiers were after you?

Penny: They like to protect me, too!

Ruby: They don't think you can protect yourself?

Penny: They're not sure if I'm ready yet. One day, it will be my job to save the world, but I still have a lot left to learn. That's why my father let me come to the Vytal Festival. I want to see what it's like in the rest of the world, and test myself in the Tournament.

Their conversation is interrupted by the sound of the approaching soldiers from earlier. Despite Ruby’s protests, Penny proceeds to yeet her into the nearby dumpster, all while reassuring her that it’s to keep Ruby out of trouble, not her. When the soldiers arrive, they ask her if she’s okay, then proceed to lightly scold her for causing a scene. Penny’s told that her father “isn’t going to be happy about this,” and is then politely asked (not ordered; asked) to let them escort her back.

Let’s take a second to break down these events.

When these two episodes first aired, the wording and visuals (“No, it wasn’t my father,” followed by the cutaway to James unveiling the automatons) implied that James was the one forbidding her from interacting with other people. It’s supposed to make you think that James is being restrictive and harsh, while Pietro is meant as a foil—the sweet, but cautious father figure. But here’s the thing: both of these depictions are inaccurate, and frankly, Penny’s the one at fault here. Penny blew her cover within minutes of interacting with Ruby—a scenario that Penny was responsible for because she was sneaking off without permission. Penny is a classified, top-secret military project, as made clear by the fact that she begs Ruby to not say anything to anyone. Penny is in full acknowledgement that her existence, if made public, could cause massive issues for her (something that she’s clearly experienced before, if her line, “You’re taking this extraordinarily well,” is anything to go by).

But here’s the thing—keeping Penny on a short leash wasn’t a unilateral decision made by James. That was Pietro’s choice as well. “My father asked me not to venture out too far,” “Your father isn’t going to be happy about this”—as much as this scene is desperately trying to put the onus on James for Penny’s truant behavior, Pietro canonically shares that blame. And Penny (to some extent) is in recognition of the fact that she did something wrong.

Back in Volumes 1 – 3, before the series butchered James’ characterization, these moments were meant as pretty clever examples of foreshadowing and subverting the controlling-military-general trope. This scene is meant to illustrate that yes, Penny is craving social interaction outside of military personnel as a consequence of being hidden, but that hiding her is also a necessity. It’s a complicated situation with no easy answer, but it’s also something of a necessary evil (as Penny’s close call with the truck and her disclosing that intel to Ruby are anything to go by).

Let’s skip ahead to Volume 7, shortly after Watts tampered with the drone footage and framed her for several deaths. In V7.E7 - “Worst Case Scenario,” a newscaster informs us that people in Atlas and Mantle want Penny to be deactivated, despite James’ insistence that the footage was doctored and Penny didn’t go on a killing spree. The public’s unfavorable opinion of Penny—a sentiment that Jacques of all people embodies when he brings it up in V7.E8—reinforces V2’s assessment of why keeping her secret was necessary. Not only is her existence controversial because Aura research is still taboo, but people are afraid that a mechanical person with military-grade hardware could be hacked and weaponized against them. (Something which Volume 8 actually validates when James has Watts take control of her in the most recent episode.)

But I digress.

We’re taken to Pietro’s lab, where Penny is hooked up to some sort of recharge/docking station. Ruby, Weiss, and Maria look on in concern while the machine is uploading the visual data from her systems. There’s one part of their conversation I want to focus on in particular:

Pietro: When the general first challenged us to find the next breakthrough in defense technology, most of my colleagues pursued more obvious choices. I was one of the few who believed in looking inward for inspiration.

Ruby: You wanted a protector with a soul.

Pietro: I did. And when General Ironwood saw her, he did too. Much to my surprise, the Penny Project was chosen over all the other proposals.

Allow me to break down their conversation so we can fully appreciate what he’s actually saying.

The Penny Project was picked as the candidate for the next breakthrough in defense technology.

Pietro wanted a protector with a SOUL.

In RWBY, Aura and souls are one of the defining characteristics of personhood. Personhood is central to Penny’s identity and internal conflict (particularly when we consider that she’s based on Pinocchio). That’s why Penny accepts Ruby’s reassurances that she’s a real person. That’s why she wants to have emotional connections with others.

What makes that revelation disturbing is when you realize that Pietro knowingly created a child soldier.

Look, there’s no getting around this. Pietro fully admits that he wanted to create a person—a human being—a fucking child—as a "defense technology” to throw at the Grimm (and by extension, Salem). Everything, from the language he uses, to the mere fact that he entered Penny in the Vytal Tournament as a proving ground where she could “test [her]self,” tells us that he either didn’t consider or didn’t care about the implications behind his proposal.

When you break it all down, this is what we end up with:

“Hey, I have an idea: Why don’t we make a person, cram as many weapons as we can fit into that person, and then inform her every day for the rest of her life that she was built for the sole purpose of fighting monsters, just so we don’t have to risk the lives of others. Let’s then take away anything remotely resembling autonomy, minimize her interactions with people, and basically indoctrinate her into thinking that this is something she wants for herself. Oh, and in case she starts to raise objections, remind her that I donated part of my soul to her. If we make her feel guilty about this generous sacrifice I made so she could have the privilege of existing, she won’t question our motives. Next, let’s give her a taste of freedom by having her fight in a gladiatorial blood sport so that we can prove our child soldier is an effective killer. And then, after she’s brutally murdered on international television, we can rebuild her and assign her to protecting an entire city that’s inherently prejudiced against her, all while I brood in my lab about how sad I am.”

Holy fuck. Watts might be a morally bankrupt asshole, but at least his proposal didn’t hinge on manufacturing state-of-the-art living weapons. They should have just gone with his idea.

(Which, hilariously enough, they did. Watts is the inventor of the Paladins—Paladins which, I’ll remind you, were invented so the army could remove people from the battlefield. You know, people. Kind of like what Penny is.)

Do you see why this entire scene might have pissed me off? Even if the show didn’t intend for any of this to be the case, when you think critically about the circumstances there’s no denying the tacit implications.

To reiterate, V8.E5 is the episode where Pietro says, and I quote:

“I don’t care about the big picture! I care about my daughter! I lost you before. Are you asking me to go through that again? No. I want the chance to watch you live your life.”

Oh, yeah? And what life is that? The one where she’s supposed to kill Grimm and literally nothing else? You do realize that she died specifically because you made her for the purpose of fighting, right?

No one, literally no one, was holding a gun to Pietro’s head and telling him that he had to build a living weapon. That was his idea. He chose to do that.

Remember when Cinder said, “I don’t serve anyone! And you wouldn’t either, if you weren’t built that way.” She…basically has a point. Penny has never been given the option to explore the world in a capacity where she wasn’t charged with defending it by her father. We know she doesn’t have many friends, courtesy of Ironwood dissuading her against it in V7. But I’m left with the troubling realization that the show (and the fandom), in their crusade to vilify James, are ignoring the fact that Pietro is also complicit in this behavior by virtue of being her creator. If we condemn the man that prevents Penny from having relationships, then what will we do to the man who forced her into that existence in the first place?

Being her “father” has given him a free pass to overlook the ethics of having a child who was created with a pre-planned purpose. How the hell did the show intend for Pietro to reconcile “I want you to live your life” with “I created you so you’d spend your life defending the world”? It viscerally reminds me of the sort of narcissistic parents who have kids because they want to pass on the family name, or continue their bloodline, or have live-in caregivers when they get older, only on a larger and much more horrific scale. And that’s fucked up.

Now, I’m not saying I’m against having a conflict like this in the show. In fact, I’d love to have a character who has to grapple with her own humanity while questioning the environment she grew up in. Penny is a character who is extremely fascinating because of all the potential she represents—a young woman who through a chance encounter befriends a group of strangers, and over time, is exposed to freedoms and friendships she was previously denied. Slowly, she begins to unlearn the mindset she was indoctrinated with, and starts to petition for agency and autonomy. Pietro is forced to confront the fact that what he did was traumatic and cruel, and that his love for her doesn’t erase the harm he unintentionally subjected her to, nor does it change the fact that he knowingly burdened a person with a responsibility she never consented to. There’s a wealth of character growth and narrative payoff buried here, but like most things in RWBY, it was either underdeveloped or not thought through all the way.

The wholesome father-daughter relationship the show wants Pietro and Penny to have is fundamentally contradicted by the nature of her existence, and the fact that no one (besides the villains) calls attention to it. I’d love for them to have that sort of dynamic, but the show had to do more to earn it. Instead, it’ll forever be another item on RWBY’s ever-growing list of disappointments—

Because Pietro’s remorse is more artificial than Penny could ever hope to be.