#even if that character is fictional its still real in a way that matters

[thatstroubling]

when your favorite character makes it to the finale

As a fellow Danganronpa fan, I'd like to imagine that if Pre-game Shuichi wasn't, you know, gone forever because he'd given up his life to become an anime character like a dumbass and could somehow witness our Shuichi kick So Much Ass in Trial 6, he would be the one cheering him on the loudest. After all, Shuichi is his perfect little detective guy and the person he once hoped he could become. That's why I can hear the "You tell them!" in his voice in my head so very clearly. And in spite of being responsible for ending Pre-game Shuichi's favorite TV show in the world, at the core of it, Shuichi was ultimately fighting on behalf of his friends for what was right all the way to the end.

And who wouldn't want to get behind that?

[moonyasnow]

Sleeping Beauty's Tentative Prince.

PROMPT : They kiss you in your sleep

CHARACTERS : Ace, Jack, Malleus, Sebek

CONTENT : fluff and angst, pre-relationship, they are PI-NING, the fae have…strange priorities. or maybe it's just Lilia in particular(Malleus' part), internalized racism (Sebek's part)

—

I do NOT condone doing this in real life to someone who hasn't consented. But this is fiction so fuck it we ball

While you were awake, he could not show the affection to you that he wished he could, caught up in his own fears it might not be reciprocated and could strain your current relationship.

But in sleep, you would never know. In sleep, he could more easily deliberate upon his fondness for you, as much confusion, anxiety, fear, hope and longing as they brought him.

Ace

Ace Trappola portrayed himself as a 'coaster extraordinaire', gliding only where turf is smooth, dancing through life without a care in the world for anything besides goofing off with his friends. Stuff like 'love' and 'romance' wasn't on his radar, deciding he'd rather steer clear of it after an experience dating in middle school that left him feeling so utterly...bored, not really there, as having to live up to some ideal decided by his partner. Was that what all those books and songs and movies was hyping up? He felt lied to! It wasn't fun, and he couldn't understand how his now ex-girlfriend, or anyone else for that matter, really thought of any of that stuff as desirable!

The 'ghost bride', Eliza, was really just a personification of everything that made him want to steer clear of it. After she finally decided to shuffle off this mortal coil for good, along with her equally ghost— to Idia's utter relief— husband, too tired from all that fighting to really feel like it was worth it, he decided he'd rather crash at Ramshackle than walk all the way back to Heartlsabyul.

You declared you'd make it a sleepover, which was why he was laying in a sleeping bag on the musty living room floor of the ancient, decrepit house, creaking and groaning from the wind and its own whims. You laid next to him, on a mattress(unfair of you not to bring a second, by the way), sound asleep. He was kinda envious of you in that moment, you know?

Despite how dead tired he was after not only all the battle stuff but cleaning up the cafeteria on top of it, sleep just wouldn't bless him with its embrace. And desptire how much he didn't want to, especially not after all the other first-years— including Deuce, the bastard— made fun of him for the thought he'd already put into it...he found the topic of 'love' spinning around his head again.

He sure as hell didn't want the kind that Eliza'd idealized it to be. The others claimed that he, out of all the other suitors, did at least seem to know what he wanted. "...someone you can laugh with, and cry with...someone who'll stick with you through all the hard times..." He felt flustered and like an idiot recalling he'd said that for the entire room to hear, even more so due to the fact they'd caught on he was actually being genuine.

Then for some inexplicable reason he got an urge to turn his head to look at you. You looked about as tired as he felt. By that meaning you looked terrible. Or so he'd say if you were asking him why he was staring. Why was he staring? Probably because he was concerned. Just a little bit. Crowley already threw enough shit your way on the regular anyway, now you have to deal with this, too. And he never understood why you still tried so hard.

You, while not even having magic, had still given it your all during those battles, throwing rocks and twigs and even a goddamn wall-mounted candlestick— or well, that used to be wall-mounted, though apparently not as well as anyone thought they were if you could just pull it off the wall— at the ghosts. It phased right through them, obviously, but it'd annoyed and distracted them enough to make his and the others' job a whole lot easier. It was long past time for him to take back everything he said about you the first day you met by the school's Main Street.

You really had become an all-in-one janitor, photographer, therapist, and law-enforcer in one in the time you'd been here. It really wasn't fair. But you'd once told him it was easier since you had him and the rest of the braincell squad around. And he had to admit, it was the same for him. When it came to you in particular. Sure, he liked Deuce, and maybe Grim too just a little bit, but having you there was...special. He's not sure how he would've dealt with the incident at that one absolutely horrible unbirthday party and his Housewarden's total freak-out if you weren't there...or if, before it, he'd have had to spend the night in Ramshackle all alone with just the ghosts for company.

His eyes widened. Wait... He started to feel warm from top to bottom. He didn't mean it like— you weren't— y-you were just buds! You know? Friends. Just friends. And then he wanted to strangle someone when he realized those words tasted bitter in his mouth. Getting up on his elbow and looking at your sleeping face he couldn't place every thought whirring through his head. He thought you were kinda pretty or whatever, sure, but it's not weird to think your friend is pretty! And maybe...

No. Try as he might, every new excuse he came up with for why that couldn't be the case was just that; an excuse. He liked you. As more than just a friend. Maybe he kept trying to deny it because of how different this felt to his middle-school girlfriend. He thought she was cute and all, but he felt so alone when he was with her. Like she was seeing some boyfriend-shaped cut-out in place of him. He never felt alone when he was with you. And he sure as hell would never take a whole day's worth of public transport to school on a break for anyone else.

But it's not like he was planning for this. It felt strange, the way you went from 'best friend' to 'best friend I wanna be with' in his mind. Because, those categories weren't supposed to intersect, were they? Or could they? It just felt weird.

…But when he got past his initial shock, he realized that, thinking of you that way felt…natural. It was strange. Strange that it wasn't something he had to psyche himself up for. Maybe he was more like Eliza than he initially realized, in that way. Not noticing that kind of love when it was right in front of him. Maybe he'd also gotten caught up in that idealization of love, never realizing before that love actually could be with someone like that…someone he cherished like a best friend.

Laying down again and turning his whole body to face you properly, he stared at you. You really were pretty. Not in that way where you see someone and can just tell whether they're pretty or not. Not in the attraction kinda way either. Well, there might have been a little bit of that too. But mostly, there was just something...special, about you.

About your face, and your eyes, hair, shoulders, nose, chin, neck, hands and just— everything. Just looking at you made him feel warm. It usually did. But especially in that moment. It was weird, how just thinking those things seemed to jump-start his heart like some old motor, because now it was racing in the night. He found himself leaning closer, until his breath fanned at your lips. Looking at you from such a close proximity was weird. Sure, he might wrap an arm around or lean it on your shoulder pretty often, and do things like flick your forehead or your nose to see you pouting at him, but you'd never really been this close before. The tips of your noses were touching.

He was planning on moving away. He really was. But then you shifted in your sleep and your lips brushed softly against his.

As quickly as he could, he almost leapt backwards and turned his back to you and hoped to the Seven you didn't realize. Not then, not the next morning— not ever.

He closed his eyes and tried to go back to sleep, and calm his racing heartbeat.

Sadly for him, he laid awake all night thinking about it and didn't get a lick of sleep.

He kinda hoped he could do it again one day. With you awake this time, of course. Yeah...with you, it might not be so bad. The Underworld would freeze over before he ever told you that though. Well, that was hyperbole. He just wanted to make sure you wouldn't like…laugh at him for it, or something.

…Maybe accidents weren't so bad sometimes.

Jack

Having grown up knowing that his parents, his grandparents, and most likely their parents and grandparents too, were mated for life— that they found each other and that was it— Jack Howl had always been sure that's how it would go for him too. That when he found 'the one' everything would be easy, and make sense instantly. And when he started to feel a strange new pressure in his chest around you, a desire to protect you more than even his other friends, he was sure that this was it. Yet something happened which he hadn't considered.

The person he fell for wasn't another wolf beastperson, nor any other kind of beastperson or mer who mated for life. You were human. And humans very much did not mate for life, as much as some might claim they would like to. For the first time he started to feel a bit of doubt about his future life plan. He was sure you were 'the one' for him… But now he had to start to contest with the fact that, he might not be 'the one' in your eyes.

So, he thought…he would try to court you in some way. Make it clear he could be a good partner for you.

During the second night at Vargas' training camp, when Grim hadn't returned from going to get blankets with the others, you had become so worried that you tried to run off to go looking for him. And Jack felt like he had no choice but to go with you; he would never risk you running into the shadow while alone. It definitely wasn't the smartest decision, and he had tried to stop you. But you had argued against him, insisting you wouldn't just leave Grim behind, no matter how much danger it put you in. That was something he had always respected about you; you always looked out for those in you pack. And he agreed to go with; he'd do the same for you— and then some— if you went missing, after all. But an hour of walking later, and you both realized that…you were lost. Now, not only was Grim gone, but those who remained at camp would think you both were gone, too.

You two had been walking for hours searching for the way back to no avail, when you had given up, swaying on your feet, saying you couldn't take another step. His eyes shot up in surprise, having been too caught up in getting you both back to camp to consider you didn't have anywhere near his levels of stamina, his ears flattening against his head with both guilt and a bit of embarrassment— guilt at not having realized you couldn't keep up, and embarrassment at not remembering the way back well enough. More like shame, really. He felt sure camp was the safest place for both of you right now, yet in his haste to follow you to make sure nothing jumped out at you, he'd neglected to keep good enough track of the scents around you both to be able to lead the way back. That wasn't how a good partner was supposed to behave! He was supposed to be able to make sure you were safe.

You were the one to suggest, with the night being so cold, that you sleep close to one another. He balked at the suggestion once it left your mouth, trying to hide the furious blush he knew would overtake his face if he let it— letting you see him like that would be way too embarrassing to consider; he was supposed to be cool! So you'd know he could protect you! Not act like some lovesi— o-overly affectionate— puppy! But when you reasoned that it was to conserve heat, to make sure neither of you ever became cold enough for it to be truly dangerous, he had no argument against it, and so was forced to go along with it. He didn't want you to freeze, after all. And no, don't misunderstand him! His tail did NOT just start wagging! And if it did, i-it was just nerves! N-not at being close to you— the shadow! NOT TO SAY HE COULDN'T TAKE ON THE SHADOW IF IT APPEARED—

He had to force himself to keep quiet, lest he put his foot in his mouth again.

He'd assumed you would just be sleeping next to each other. So when you slotted yourself right in his arms, your head on his chest, he froze in place, begging for dear life that you weren't hearing the way his heart was now racing. No matter if you did or not, you soon fell asleep. But Jack, like a protective guard dog (a comparison he didn't like but couldn't exactly deny at this moment) stayed awake for a while longer to make sure the area was truly safe, leading to him becoming lost in his thoughts.

He was confused why you were here at all. You weren't even part of a sports club! Or any club at all, for that matter; running errands for Crowley ate up too much of your time for you to be able to join one. But you were still here. You had claimed it was better than spending that time in school figuring out a way for a magicless student to succeed in magic assignments, Grim not often being fond of cooperating if there was no tuna involved, much to your frequent frustration. But it still really didn't sit right with him that you got caught up in all this when you were only meant to be there to take pictures. He thought Crowley should definitely compensate you for this, since you got caught in danger due to him making you go along with them. But by now he'd wised up enough to realize that was never going to happen. The thought began to really get on his nerves.

It was insane, how Crowley treated you like some slave with no mind or will of your own. Even worse, a disposable one he kept throwing at problems— dangerous problems...he still wasn't over how close you'd come to being seriously injured in the fight at the Mostro Lounge— that should have been CROWLEY'S job to handle. He almost began to growl just thinking about it. The mere thought of you, his m— friend...his good...friend...being hurt in the slightest scared him. Enough that his arms unconsciously tightened around you. The scent of your hair, a reminder you were currently not in danger, put him at ease. He exhaled in silent relief.

…If…

After you both graduate, if he asked you to come with him back to his home in the Shaftlands, what would you say? He'd be able to keep you safe. Make sure you never had to live like this again. What with your status as not being from this world and thus having no legal identifying paperwork, getting a job would probably be hard for you. So he'd get a job and support both you and him. And Grim, of course— if Grim was your pack, he was Jack's, too. He was already sure his family would love you, and welcome you with open arms. And then one day down the line he'd—

He couldn't bring himself to finish his thought, face having grown far too red. But his tail wouldn't stop wagging. He might have thought of it before, but that was when you weren't literally sleeping in his arms. You being so close just...made everything feel too real.

He took a deep breath to clear his mind. What mattered right now was that he would keep you safe. Take care of you. Now…and hopefully, you'd allow him to do the same in the future.

But the fuzzy, excited feelings brought on by the thought he didn't finish didn't leave him, them and your scent lulling him further into a comfortable sleepiness. So close to sleep and overflowing with affection, he didn't even notice, let alone have the sense to stop himself, from placing a kiss to your forehead, snuggling up closer to you to make sure you kept warm, unconsciously smiling against the top of your head as he, too, was claimed by sleep.

It just felt so...right, to hold you.

…The next morning you were confused by why he refused to look you in the eye.

Malleus

Malleus Draconia, crown prince and heir to the fae Kingdom of Briar Valley, was used to spending his time alone. Used to having only his guards and mentor for company. Used to spending hours wandering through empty stone hallways and rigorously up-kept gardens where none but he, his beloved gargoyles, and the occasional critter dared wander.

Perhaps that was because of him.

Though he came to Night Raven College to 'broaden his horizons', after the first few months or so of classes in which he was left to work alone even on group projects, smelling the fear of his peers in the air, he had all but given up on finding an actual friend. Someone who would stay by his side not out of duty or necessity, but purely out of desire to.

The way you haphazardly seemed to stumble into his life and make a home for yourself in his hollow ruin of solitude had still not caught up with him, even months later.

It was late in the evening, the old decrepit clock in Ramshackle had just struck 12. You were on the couch, leaning against him, asleep on his shoulder as he read a book. Or at least, he had been trying to. For all of five minutes. The soft pressure of your body leaning against his arm had made him lose all focus for anything not related to you. So here he was, staring like a fool at your sleeping figure.

That you, so small and fragile compared to him, were not afraid of the dragon by your side— the horned beast with power enough to destroy most of the school with less than a snap of his fingers— never ceased to amaze him. Yet it was on nights like these, when you were too tired to go for your usual evening walk with him yet still wanted him near, that left him most awestruck. Not only did you say, with your own words, that you wished to be by his side despite your lack of energy…you trusted him enough to fall asleep in his presence. Leaning against his shoulder, no less. It intoxicated his heart with pride, peace and longing in equal measure.

Yet, it only occurred to him the first time it happened that he had never seen another's sleeping face before. At least, not with their knowledge. He had seen you resting through your window on his late-night strolls before. Yet this was different. You allowed him this. If he did not already think you were the most beautiful thing his eyes had ever bore witness to, he did once he saw the gentle, peaceful expression on your face so close. He couldn't help but liken you to the sleeping princess in the old story of the Thorn Witch from his homeland. Sleeping so peacefully…all whilst leaning against a dragon.

His heart ached with feelings he had no words for as he stared at your face, streaked with moonlight, book long since forgotten. Cupping your cheek, he cursed the leather gloves keeping him from truly feeling your skin. In the back of his mind he harbored a fear he dare not put into words: that were he to feel your skin against his, it would be a point of no return, and he would never be able to go without it again. A curse to one such as him, who— his logic was much too aware for his liking— would be forced to grow accustomed to losing the touch of all things in time.

Yet his emotions, not bound by logic of any kind, wondered if you would like that. If him discarding his inhibitions and letting his gloveless hands roam every inch of your body would delight you the same way the mere thought did him. One part of him told him that 'yes, you would'; he was the fae prince, one of the most talented mages alive. He could keep you safe, give you anything you could ever desire. Yet another part of him said 'perhaps not' with barely any hesitation. He was a dragon, feared by man and fae alike for his power which could wipe out whole nations, should he desire to. The conflicting answers left him with a confusing sense of whiplash, not knowing which to trust. Yet, since you were not, unlike many, afraid of him, he found himself hoping your answer would fall more in line with the former…

Heart filled with trepidation and yearning in conflict with one another, he searched his mind for that always comforting anchor of knowledge that was Lilia's words. All that came to mind regarding the matter of kisses was that 'it was not to be done once the sun had set', which to him was good enough reason to force himself to abstain. Or at least, so he'd hoped. He wished to listen to his mentor's words, clung to them when his own young mind felt overcome with what he wished to do instead of what he ought to do…yet found he could not. At least, not fully.

Holding your warm hand in his which was cold beneath his gloves, the heat still slowly seeping from yours to his, yours appeared so small. As Malleus resisted the urge to rub his nose against yours, he felt his pulse beat in his throat. A metaphorical fire lit in the candle of his heart, flaring higher as he slowly neared your lips.

At the last second he managed to force himself to place his gloved hand gently over your mouth, placing a light, chaste kiss to the back of it.

He yearned to traverse further, to not have this self-imposed barrier in his way, to truly know if your lips were as soft as he imagined them to be, if they tasted as sweet. It was difficult to draw a line for himself. But, despite pouting through it, he still did. Once more recalling Lilia's words of wisdom: it would be impolite to steal your first kiss— or at least, so Malleus assumed it was— without your knowledge, after all.

After that he made up his mind to keep himself in check. That was enough for tonight, he thought and tried to return to his book. But his thoughts never stopped drifting to you.

It equally unsettled and enthralled him.

Sebek

The son of a human father and a fae mother— a fae mother who went entirely against the norms and expectations of her people and culture to marry a human man, a man whose people had hurt hers, and whose union with her had barely been accepted, much less understood— to say that Sebek Ziegvolt feels many conflicting emotions interacting with humans would be an understatement.

He, having seen the scorn his parents' union brought his mother, had vowed as a young child that he would 'never be stupid enough to choose to marry a human'. For he, at his young age, fully believed it was something he had control over. And he still did well into his teens, Lilia's explanation that love cared not for what people had decided, while he admired, revered and respected the older fae greatly, was still not quite enough to persuade him that there could ever be a possibility of him, Sebek Ziegvolt, proud knight of the Lord Malleus Draconia, deigning to fall for a mere human. He couldn’t understand the appeal in any way, shape or form. Human were weak. Fae— he— were strong.

What use had the strong for the weak?

But when you saw him freezing in the cold winter air, you wrapped your scarf around him. He, predictably, began to chastise you, claiming through a runny nose that as a human you were weaker than he and that he could handle this cold, and would not lose to mere weather— which was evidently not the case, as his own words were cut off by a big sneeze, to which you simply laughed. What nerve you had, he thought, for you, a mere human, to laugh at him, Sebek Ziegvolt. To laugh at his weakness! But his thoughts stopped dead in their tracks when you removed the hand covering your mouth and he saw your smile. It was...dazzling. A depiction of beauty which he had only heard described before.

In his daze he almost missed you taking a napkin out of your pocket and wiping away the mess under his nose, still smiling at him the same way.

Though he chided you, claiming to not need it, he was powerless to stop the stutter in his heart at your gesture. The tip of your finger grazed his jaw for a fraction of a second as you withdrew your hands, and it haunted his dreams for weeks. And the gentle smile on your face, showing, as far as he knew, nothing but sincere care for him, was enough to make him feel as though he didn't need the scarf at all.

It was...dizzying.

He saw his displays of weakness as just that: weakness, not vulnerability. In his eyes he must not have either to be able to be a good, no, even passable knight to his Young Master! Deep down he knew his Lord Malleus was already strong enough to not really need a knight. But he could never shake the worry it was on him, that he didn't need a knight because Sebek wasn't knightly enough. That was why he worked so hard. His position, with Lord Malleus, in life, had to mean something. Make him mean something.

But you never seemed to care for how he thought of it, showing him small gestures of kindness over and over again. In time he found he had begun to expect those small gestures, despite how he might still had insisted they were unnecessary. That you continued them despite his insistence...warmed him, just like when you lent him your scarf— which he always returned to you each day, knowing you would wrap it around him again the next.

At first he was sure you must have bewitched him, cast some manner of curse upon him— forgetting the fact that you, as magicless, would not be capable of such a feat— for he could find no other logical explanation for what the feeling of full-body lightness and heart-stuttering you brought upon him could be. At least...none he wanted to listen to; none that made sense to him.

You were human.

What he could never let himself be.

And he, the knight of Malleus Draconia, couldn't make the same strange choice as his mother, no matter how highly he respected her.

Yet whether he wished to or not, they'd taken hold of him, struck his heart like lightning, leaving a permanent mark of you on his very being.

It was shortly after that incident that he had, one evening, come to Ramshackle in search of Lord Malleus, and instead found you on one of the Dorm's benches, looking moments away from sleep. For a moment, thoughts of his search for his liege left his mind. When he asked what you were doing out alone this late at night, interrogating you like you'd broken some kind of curfew Ramshackle didn't have, you smiled and said you were waiting for Malleus to go on your usual evening stroll with him. Something about that gave him a sour feeling in his chest. For you or for Lord Malleus, he couldn't say.

Huffing, he said he might as well wait with you. You said nothing at that, just smiled and patted the spot next to you. Reluctantly, he did.

You sat in silence for a while, him trying to ignore the way so many feelings he couldn't figure out the meanings of stung at his chest. He was so caught up in his mind that it was only once he'd finally figured out something to say to you and took a deep breath that he realized his shoulder felt heavier, and he looked over to see you leaning against it, sound asleep. He was about to begin to scold you for falling asleep while waiting for his Young Master! It was bad enough his Lord Malleus had to endure the tardiness of Silver on acount of the latter's propensity for falling into slumber at any given moment! But when he looked at your face again, the words, for once, froze in his throat and fizzled away.

The way your mouth was left slightly agape, leaving a small trail of drool running down your chin, really should have appalled him, been seen as something pathetic, left him feeling distaste of some kind. But when you'd still smiled at him when he had snot running from his nose, how could he?

Maybe it was fine to…let you sleep. You didn't fall asleep like this often anyway…

As gently as he could, so as not to wake you, he lifted your body up and sat you in his lap, shifting and angling himself to allow your legs to still hang over the edge of the bench, now exchanged for his legs. He looked up at your sleeping expression in reverence, bringing his thumb to wipe away your drool. In his other hand he took yours, which had been hanging limply at your side. With his other arm around your waist to keep you from tipping over, he leaned his head, cheeks burning, against your shoulder, yours falling atop his as he did.

Closing his eyes, he pressed a tender kiss to the back of your hand.

His heart fluttered with a novel tenderness...yet not one he found he minded. He would guard you as you slept. Care for you in your 'weakness', just as you had him in his.

To love a human might not be something he was yet capable of. But, if you would extend to him the same, not a half-fae, but him...

...he might be able to love you.

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First of all I just want to say: Thank you thank you thank you SO MUCH to everyone who engaged at all with my last (and first) writing post! > <

Knowing people like my writing was such a massive motivation-boost to me! I tend to struggle with perfectionism and feeling like my writing isn't good enough by my own standards, so all that stuff is very, very appreciated!

I also wanna say sorry if any of them seemed OOC— aside from Malleus, I don't feel as confident in writing these characters as I do for the characters in my first post, since I don't know them as well yet. A big thank you to @yuurei20 for their TWST character fact sheets (found here) for the help! And also to the people who contribute to the the English TWST wiki!

Lastly: A reminder if you didn't already know, that I do, in fact, take requests! Coming up with WHAT to write is usually the hardest part for me; when I get past that I have a blast! ^^

...Also I think doing the research for this has skyrocketed Sebek up my 'favorite TWST characters' list because damn. That's rough, buddy. And honestly same in a way. His part was definitely my favorite to write.

[violet-moonstone]

once more defending my love, book!elphaba thropp

reading reviews of wicked and im seeing people say they hate book elphaba because she's "unlikable"

so many people love the feel good vibes of the musical while not seeing that they sound exactly like people who would have shunned elphaba at shiz for not being pleasant enough and making them feel unsettled instead of putting them at ease

I'm saying this because I find that people are often much more charitable towards fictional characters than real people -- and people IRL who have Elphaba's severe, unwavering personality and unwillingness to conform often face the same social stigma she did, no green skin required. Like yes, Elphaba was an outcast because she had green skin, but I don't think the green skin is the point of the novel. I think her being green is a visual manifestation of being so at odds with what you're "supposed" to be that people demonize you for it. Book Elphaba is queer and hinted to be intersex. I read her as neurodivergent, so this all tracks to me, and considering that other forms of oppression and stigmatization are very important themes in the narrative, I think the green-ness simply emphasizes to the other ways in which she's marginalized.

Trying not to go into the Wicked rant that I tend to do every few months but I feel it coming on

I'm all here for critiques of the novel, because it certainly has flaws, and I understand why people don't enjoy it -- but there is something funny to me about people wanting a narrative about looking beneath the surface to find true value but hating the version of that story that requires the most compassion to appreciate. Like the musical is fun and well-made but it does not require any effort to like musical Elphaba because she's conventionally attractive woman who's feisty and kinda quirky...oh and she's also green. And her being green matters more to the other characters than to us. We don't care that she's green (because we already know it would be wrong to judge her based on that) and the musical gives us no other reasons to judge her, so we don't really have to process any complex emotions.

(Sidenote, I think if book Elphaba were still green but more conventionally attractive, bubbly, and less political, she would not have been as much of an outcast -- at least not in her later adolescence. Her green-ness could have been a novelty or spectacle that she used to her advantage if she made up for it by being more palatable in other ways. Of course, she would never do this, because that's simply not Elphaba. She could never twist herself to be anything other than who she is, even out of social self-preservation.)

Book Elphaba is so much more prickly and unpleasant --and hell, so was I at the height of my social ineptitude and feeling like there was something so so wrong with me (because why for the love of God couldn't I just fit in and act the way the cool kids my age did).

Her unpleasantness and seriousness and insistence on talking about important things that make people uncomfortable are her green-ness imo. Those are the things that affect how we as the reader experience her, and we must experience her strangeness as well.

And while I understand that if the moral of the story is essentially "don't judge a book by its cover" then yes, you can tell a thematically sound story about a girl who is actually pretty cool but just happens to be green and talk about how she's ostracized simply because she looks different. That's a perfectly fine story -- but I think it can go much further -- because it's not only wrong to marginalize people who look different, it's also wrong to marginalize those who are internally different. Difference is persecuted whether its visual or behavioural.

Even if Elphaba weren't green, there are inherent aspects of who she is that prevent her from conforming to the ideal, both in her world and ours. And I think valuing her with all of those things in mind is a lot more rewarding than simply liking her despite the fact that she's green.

Anyway I love Elphaba Thropp and I don't think her being more palatable would have made the story better — it simply would have made it more popular, and I think on that at least, fans of both the book and musical should be able to agree is not an inherently better thing.

...

OK one last point, I saw someone saw they prefer the musical because it has more "girl power" meanwhile the book feels "obviously written by a man" and I just...dear god what a surface level take

Yes Gregory Maguire is a man (oh, the horror!), but he wrote the women in Wicked as people, without hand wringing about if they're likeable or pleasant enough. They are flawed and raw and not just there to make the audience feel warm and fuzzy. He writes about sexuality without making women feel like sexual objects -- I suspect because he also writes about the sexuality of his male characters (the women aren't just in the story to turn us on) and he himself is gay, so there may be less male-gaze going on than with a lot of men who write fantasy. Yes, characters are described in sexual ways, but this happens regardless of gender.

[hamliet]

Love is Life, and Also Unpredictable

The Decameron is a brilliant, beautiful show that deserves way more praise than the lukewarm reviews. I don’t think I’ve ever seen a love story so beautiful and characters who subverted expectations in the most satisfying ways.

Every time you think a character is an unforgivable lout, you'll be surprised at how human they'll be. The character you think is a buffoon and whom you wish would die because they're THAT level of annoying ends up making you bawl with their words a single episode later, and it still feels in character.

I dunno, the show has pretty mixed reviews, but if you like dark humor and a study on humanity, this show is for you. Also, if you like love stories of any sort, because this show contains several of the single most unique love stories I could have ever imagined. Yes, including queer and... ace love.

*yes i have read boccaccio's work on which it's based

Spiritual, Agape Love: Neifile and Panfilo

I genuinely think the sexless marriage and partnership of a gay man and a devout, neurotic straight woman is one of the most beautiful love stories I've seen in media, ever. They genuinely want each other to be happy, and they aren't content just being each other's "beard" or financial security. They want to know each other more. They want honesty. They want to be together and to have intimacy, just not romantic or sexual.

The scene where they reconcile in front of Ruggiero is stunningly wholesome and--dare I say it--pure.

The scene where Neifile falls in the well and waits for God to save her is clearly a riff on the classic parable of the guy who is drowning and turns down two boats and a helicopter rescue saying "no thanks, God will save me," only to die and get to heaven and cry, "God, why didn't you save me?" Then God replies, "you dumbass, I sent you two boats and a helicopter!"

Neifile is rescued because her husband Panfilo pays someone to rescue her and to tell her God sent a vision telling them where to find Neifile. When she finds out Panfilo orchestrated it, she's furious about him deceiving her. But the reality, we later realize, is that he didn't exactly. Neifile wanted proof God still cared about her. He sent her a husband who loved her so much he would do anything to save her.

Neifile's faith isn't perfectly written, but it's not mocked. In the end, Neifile and Panfilo live like Christ--which is to say, they save their friends even though they die. Neifile dies afraid, but life comes with no guarantees. It's unpredictable, just like love. And after her death, Panfilo seems to lose the will to live--but when he decides to sacrifice his life to die alongside Neifile, it's not so much out of a desire to die as it is out of a desire to have his friends survive. And it's not a coincidence that the foe they face off with is a self-proclaimed prophet who's really a cruel, hypocritical cult leader. Neifile's dead, plague-ridden body is more holy than the cult leader's sword.

Romantic/Eros Love: Misia and Filomena, Tindaro and Stratilia, (and everyone)

Everyone has romantic love and/or a sexual relationship in the story. Everyone has a "pairing," but it is seldom their most important bond.

Dioneo and Licisca

Filomena and Misia

Pampinea and Sirisco

Tindaro and Stratilia

Neifile and Panfilo/Ruggiero

Panfilo and Neifile/Andreoli

The two that are the most important here are Misia and Filomena, and Tindaro and Stratilia. Yet they are both quite unique portrayals as well, because while Misia and Filomena's love is requited, Tindaro's loev for Stratilia is completely unrequited. Yet, its power still shines through.

Tindaro's love for Stratilia is utterly unrequited and stays that way. However, his love for her is nonetheless real and he proves it over and over, and it isn't dependent on her returning it. His determination to love her, no matter what she does or doesn't give him, is honestly a beautiful exploration of unrequited love. Usually in fiction unrequited love is either someone wasting their time or a tragedy.

Rarely does unrequited love have power to redeem and save, but here it does. It motivates Tindaro to change himself for the better and to become the best version of himself, and it saves Stratilia's life and the life of her son.

Yet, the story avoids any kind of iffy subtext about sex corrupting love. Misia and Filomena get a happily ever after (the only pairing in the series that does), but Tindaro's love for Stratilia, which literally starts as hate sex and stays that way for her, redeems Tindaro. So the show avoids saying that sex is all that love is, and avoids the implication that sex ruins love as well.

Familial Love: Licisca and Filomena, Stratilia and Jacopo

The series addresses sibling love in a variety of ways. Filomena and Licisca are clearly sisters long before we get the official reveal that Licisca is actually Filomena's half-sister in blood. And even when we see them fighting and pushing each other off a bridge (literally), they love each other. They can't bear to see each other die, even as they peck at each other and insult each other constantly.

Filomena: Licisca, you saved me again! Licisca: Yeah, you dumb bitch. Love's got long claws.

Truly, a sister exchange right there.

What gets in the way of their familial relationship is class. The series juxtaposes class issues against familial ones quite a bit. Leonardo, for example, we never meet, but the way he treats Stratilia and Jacopo (his son) is pretty terrible.

And yet, Jacopo has a good life. Stratilia loves him, even though he is the reason she can never leave the villa, marry, or have any sort of life of her own. She knows Leonardo never plans to have Jacopo as an heir or treat him as a son in any way, but she loves him and sticks around for him, and doesn't resent him for it. And he in turn adores his mother and wants to protect her. Love is a burden, as Panfilo says directly, but so is life. Love anchors.

What gets in the way of love for this mother and son, temporarily, is again class. Not for herself, but for her son, Stratilia eventually decides to take the villa since Leonardo is dead and Jacopo is the rightful heir. But clinging to class and material possessions in this series never ends well.

When Stratilia realizes her desire to seize the villa in the name of justice for her son will likely get them all killed, she cries and blames herself for their coming deaths.

As Tindaro says:

Stratilia: I failed my son Tindaro: No. You have given him everything. And love most of all. He is blessed. You understand that Jacopo? You are blessed.

In other words, love doesn't have to be perfect. It can involve major screwups and pain, but that doesn't mean the life they had or the love was any less powerful.

Also of note: the whole reason the peasants turn to mercenaries and cults is because the rich lock themselves away from the poor, when in reality they are all humans. You can't counter acts of God (or, y'know, rats) but where humans do have power, in all the terrible hands life slaps them with, is the ability to love each other and help each other. While this sounds cheesy, the juxtaposition of this idea with a black comedy plague setting actually makes it shine.

The Loveless: Pampinea

At the start of the story, there are two buffoons: Tindaro and Pampinea.

Tindaro is misogynistic and pathetic, and Pampinea is equally insufferable but more sympathetic because her insufferable tendencies are clearly driven by her status as an unmarried woman in a patriarchal, misogynistic society.

Yet Pampinea has all of these kinds of love, and can't accept any of them. Sirisco loves her and thinks she is beautiful. She not only pushes him away, but is cruel in doing so. She has the respect of Neifile and Licisca. She has unrequited loyalty and love from Misia, and uses it to manipulate Misia into killing Ruggiero for her (and the irony is that Misia, who is traumatized from killing Ruggiero, then kills Pampinea).

Pampinea is a well-written villain, imo. You love to hate her, but you also see her humanity. The way she treats Misia, though, is increasingly horrifying, and their relationship foils Tindaro and Dioneo's, Filomena and Licisca's, and Leonardo's and Stratilia's/Sirisco's.

In fact, Filomena even directly acknowledges that she's no better than Pampinea for how she's treated Licisca. Tindaro doesn't get the chance to have that realization about Dioneo while Dioneo is alive, but he does give him a decent burial when he definitely didn't have to. And, there's an aspect of tragedy there too--Dioneo did care about Tindaro, but Tindaro's inability to show any kind of care for Dioneo while he lived means that he doesn't realize that Dioneo did in fact find love in the end, though he acknowledges that this was what Dioneo did primarily want in life.

In contrast, Pampinea has chance after chance after chance to choose differently, to choose a single bond, and she doesn't. She also recognizes that her servant wants love more than anything, just like Tindaro and Dioneo, but instead of using that to honor them, she uses it to degrade and manipulate Misia.

Bad Victims and Toxic Love: Misia and Pampinea

Misia is a bad victim. It takes forever for her to realize she's being abused and even longer to accept it. She does in fact murder someone for her mistress, and she keeps going back to Pampinea even when it means essentially betraying Filomena, whom she romantically loves. When she asks for help, she pushes the people she's asked away.

Eventually, the only way she sees to free herself is to kill Pampinea, because love for Pampinea is a way to cage someone rather than a way to set them free. Pampinea's already introduced the idea of killing for love, so it's not really a surprise when this comes back to bite Pampinea and she is killed.

Yet the story doesn't demonize Misia for this. It shows how damn difficult it is to free oneself from an abuser, and how genuine the love for an abuser can be. In fact, the victim can often not even realize they're being abused and taken advantage of.

Furthermore, Misia's abuse doesn't make her a better person. Most people tend to assume that victims cry and wait for rescue, but that's not realistic. Victims lash out and can sometimes have a massive cognitive dissonance, as demonstrated in the show when Misia begs Sirisco for help and then blames him for Ruggiero's death when he calls her out on Pampinea's abuse of her.

Even Misia killing Pampinea isn't portrayed as a moral positive. It's tragic, but it also doesn't have to destroy Misia's future. Filomena loves her and forgives her, and that love can tether Misia to life despite her having two murders under her belt.

Sirisco also goes down a bad path, similar to Misia. He brings misery and problems to the villa in his outage over Pampinea's treatment of him. Yet he does repent after he sees that his actions have directly led to the deaths of the peasants who treat him well, and he survives.

[millidew]

its been almost 6 years since kaito and ouma have infested me. here's me talking out of my ass for over 2k words

to love the ouma-kaito dynamic is to love the themes of v3. to see one of them as 100% correct and the other as 100% wrong is to hate the themes of v3.

there must be balance. which is one of the themes!

at first, they each represent one end of their spectrums: lies, distrust, and logic VS truth, trust, and emotion. but it's not all black and white— they're far more similar than they think

to get the obvious visual foiling out of the way: short vs tall, scrawny vs muscular, pale vs tan (relatively...), round eyes vs sharp eyes, cool purple vs warm purple, black and white vs a colorful galaxy, and a tight "straitjacket" vs what's basically loose pjs

they're visual opposites, but they're also both purple, charismatic leaders, would rather die than their let go of their respective roles of hero and villain, and both want to end the killing game. they're also both SO dramatic. they cannot be separated.

all this is to say that they're the same, just taking different approaches (i mean, just compare their early FTEs. what are you two FUCKING talking about. your ass is NOT a pirate kaito shut up). ouma hides drops of truth within his lies and lives to poke holes in others' poorly concealed lies. kaito talks about being honest, but is also constantly lying to himself and others. and it's so fitting for them to essentially die with each other.

lying your way to the truth, and 10 other tricks to surviving a killing game:

v3 is a game that asks: who are you? why are you even alive? what parts of you are really "you"?

in other words: what is true and what is a lie? does it matter?

the flashback lights are all lies. tsumugi can literally rewrite their "truth" as she wishes. and of course, there's the fact that they're all fictional characters come to life.

and there's the big lie of ch1, brought back in ch6. although this is less relevant to me, personally, because kaede fully intended and did try her damnedest to kill so either way she's still at fault soo

the theme of the survivors is that they all have a reason to fight to live even if the world is hell, because they're pushed forward by the connections they made— kaede's encouragements, the training with kaito that led to shuichi and maki's happiness, and himiko's memories of tenko and angie. even though maki loses kaito, because she had those good times with him that led to her change in self-worth, she'll be okay in the end. she's not enforcing her own loneliness anymore.

basically, "maybe the real reason to live is the friends we made along the way"

shuichi explicitly says that his feelings are true, even if they're born of lies. to lie, there has to be a truth. to be truthful, you can't lie. yin yang and all that

it's even shown with the game mechanic of perjury. kaede and shuichi can literally lie for the sake of finding the truth

he rejects being forced to choose between "hope" and "despair," breaking the cycle. it's pretty easy to apply this to the other dichotomies in v3: truth vs lies, trust vs distrust, logic vs emotion. even heroes vs villains.

ultimately, i think v3 aligns more closely with kaito's ideology, because of course truth and trust is a good thing....!, but not without poking massive holes in it too. because kaito's a prideful hypocrite and the game does NOT let you forget it <3 more on that later

little white lies AKA ouma is sick of your shit part 1:

"is the truth worth it? aren't feel-good white lies ok? what even is a lie?" ouma asks with his little hater heart. (ch1 and ch4)

here, we see ouma questioning the individual nature of common sense ("gut instinct", if you will)— how can kaede decide if his talent is a lie? what is a lie? if ouma is 99% lies by weight, what is ouma??? an annoying grape??

we all want the truth, right? but the truth can be ugly. that's what ouma's always showing.

this is something shuichi also tackles with his feelings on his own talent. by exposing the truth, he causes pain to others. but this isn't about him, so you'll just have to keep that in mind

in the death road to despair in ch1, it's kaede's optimism that causes misery to the rest of her classmates. they're lying to themselves when they try to do it over and over. again, ouma calls her out on it, pissing off kaito who supports kaede 100%. the idea they can all get out and become friends is…also really unlikely. and even with kaede's murder "for the greater good", ouma disparages her for doing it in the first place: she lost the moment she seriously considered the thought, and played right into monokuma's bloodthirsty lil' paws.

right after the ch3 execution, himiko still refuses to let herself feel… until ouma calls her out on it. stop lying to yourself. and they all let it out, crying together. it's a good thing, and spurs on himiko's arc to be more true to herself. you did a good thing, ouma. now onto ch4! yay!

the "truth of the outside world", and ch4 as a whole, is probably the most in your face way of showing this. but more on that later.

the boys are back:

if you want a good relationship with someone, vulnerability is key, one that ouma unfortunately can't replace with a lockpick. you have to be honest. maki and shuichi were honest to kaito, which let him help them out.

ouma is definitely not vulnerable, up until the very end. ouma's distrust of everyone pushes them away, leaving him alone— without the "reason to fight to live" the others have— living out of spite and determination, until he dies for that too. like maki, he reinforces his own loneliness, but unlike her, he never makes those connections that make him change into a more well-rounded person.

kaito's better than him, which is a really low bar, but the game goes out of its way to tell you that he's still hiding secrets and adamantly refuses to let down his hero persona, harming both himself and those around him. you are COUGHING UP BLOOD, you are NOT okay. while his sidekicks still know something is wrong, he refuses to truly let them in, instead just brushing them off.

and that pisses ouma off. at the very least, ouma's honest about being a liar. kaito, in his eyes, is a coward. (not only that, people still like him despite being a liar..... but that's probably more to do with kaito being way less of a dick).

ouma, in kaito's eyes, is also a coward. he can call ouma a two-faced coward as much as he wants, but pot, meet kettle

chapter 4 AKA ouma is sick of your shit part 2:

ok. seriously onto ch4 this time. it's the perfect set up to the insanity of ch5. the tension is insane. also, ouma does not shut up about kaito having a crush on him. ok man.

from now on, it's the kaito & ouma show, the truth & trust & hope & emotion & hero VS lies & distrust & despair & logic & villain show.

and the game puts kaito, and all his themes, in the wrong. poor gonta and shuichi are just along for the ride

the stubborn belief that worked so well for maki in ch2 makes kaito refuse to believe, despite the evidence pointing to it, that gonta is the blackened, endangering everyone. and this is the cause of kaito and shuichi's rift which ouma takes great pleasure in. i'm sure this greatly validates his own distrust and loneliness, seeing it as the superior option

kaito's a liar, shuichi's a liar, and gonta is...not a liar but still technically wrong. YOU'RE ALL LIARS AND KAITO/SHUICHI STANS. YOUR FAVE IS PROBLEMATIC. OUMA'S FUCKING PISSED

it's the hypocrisy that gets to him the most imo

does he know?

anyways, it's a great showdown between their two ideologies. up until now, i'd say the score was roughly 3:1 in kaito's favor, but now it's definitely more even. it even features ouma punching kaito instead of the other way around like last time: something made possible imo because of kaito's sickness, which ouma forces him and everyone to acknowledge by doing this

this is a massive L for the hero side.... can the sidekicks clutch this victory and save the princess?

(interestingly enough, note that kaito doesn't even seem to hate ouma after all that. at the start of ch5, he puts ouma and gonta in the same category as having snapped under the pressure due to monokuma. his feelings, of course, change later on.)

...

are you sure about that

yeah, the truth sucks sometimes, huh?

what now?

chapter 5 AKA the boys are back 2 AKA voyage without passion or purpose AKA the sickest chapter name ever

ch5 combines ouma and kaito's ideologies through their swansong, their magnum opus, their collective theatre kid dream

the hangar man. THE HANGAR. no more cameras. no more prying eyes. no more heroes. no more villains. NO PASSION (KAITO). NO PURPOSE (OUMA). WHAT'S THE POINT. IT ALL BLURS (probably because of the blood loss)

think about it this way: kaito is literally dying, hypocritically refusing to let his friends in. ouma is metaphorically dying, because he lacks the "reason to fight to survive" everyone else has, because he has no trust, no friends, no bitches... anyways

(also the poison, which is. you know. is also literally killing him but shush)

the closest he had was, imo, miu for a little, then kaito in ch5. but in the end, it's all spite, not connection, that drives him. ouma kills himself to prove a point, and they both die as a middle finger to the mastermind— a hollow victory, in many ways.

think about kaito sitting alone in the exisal, hacking his lungs out in the metallic silence of the belly of the beast, having just learned one of the truths behind ouma's act, then killing him, then having to lie to all your friends for the hope that ouma's final, crazy plan works out. he's finally stooped to ouma's level. he's so used to the smell of blood by now. does ouma's blood on his hands look any different from his own?

even kaito's motto: "the impossible is possible! all you gotta do it make it so!" is pretty much an admittance. you can make a lie (impossible) the truth (possible).

also ouma bleeding out looking like shit laying in kaito's galactic coat like a cape. kaito squeezing his eyes shut before before pressing the buttons. these images changed lives.

the lying truthersssss...working together!!! to literally pretend to be each other!!! to blur into one being!! trusting each other to see it through for their shared goal!! at first glance, maki thinks it's her fault— that ouma manipulated kaito using her, but kaito disagrees, saying it was for the sake of ending the killing game.

this is all to hammer home the idea that we shouldn't see them as "hero" or "villain." the cast sees them as it first, but of course, we know that's not so simple by the time kaito steps out of the exisal.

in the end, they fail, but kaito puts his and ouma's dreams in their hands. they can do it better this time.

plus, kaito finally stops lying to himself and others about being a liar, the thing ouma gave him endless shit for. it only took him 5 chapters

is it wrong to call "that was a lie" ouma's catchphrase?

i still can't believe maki believed him. love makes you stupid i guess

extra thoughts:

you might be wondering why i call him "ouma" and not "kokichi." i do the same with some other characters: kirigiri, togami (though i switch between that and byakuya nowadays), and komaeda. it's because i don't know them like that. we are NOT friends. "kirigiri" is out of respect however

don't you think ouma has his own "sidekicks," his "villain lackeys," if you will, in DICE?

kaito's execution music should've had the "reach for the stars" line from sdr2 and i'm still mad about it

and they should've both in that exisal idc

kaito somehow exited that exisal with a new jacket. it's my headcanon that, in respect of a fellow theatre kid, ouma stole a second jacket from kaito's room and put it in the exisal

VR au post game low(high)key codependent oumota is everything and i'll happily read 1000 fics about it

also just outside of the Themes of it all, and tbh my main draw to this duo... they're so funny. they are SO. FUNNY. THEY'RE SO GOOFY TOGETHER. STOP TRYING TO ONE UP EACH OTHER

they should run around and beat each other with toy hammers. it's enrichment.

this isn't like thematically relevant but their love hotel events really show how well they could work together. they want a rival to pump them up and fight back so bad!! they'd have the craziest vigilante beef

WHY IS THIS 2.1K WORDS/???!> i am so weak to rivals man

tldr: look at this meme.

tldr 2.0: a true kaito fan is also a true ouma fan and vice versa. you may not like it, but they're two peas in a pod. don't worry though, they're not happy about it either.

[overdecorated-furniture]

Dead Parents - How to avoid them.

We are all very familiar with the notion of dead parents in fiction. For example, Harry Potter’s parents are dead before the first book even starts. Or in Portrait of Dorian Gray, the protagonist is brought up by an absentee and very neglectful grandfather. It’s a trope used again and again. And it does kind of work. It certainly allows your young protagonists the opportunity to gain agency and find their own way in the adventure thrown at them. But it’s also rather predictable. As a reader, we don’t sympathise as much because it’s such a used trope.

So, here are some of my thoughts about how to avoid the dead parents trope, and still propel your characters into the action.

Kill Someone Else.

I know, violence isn’t supposed to be the answer. But characters don’t only have close relationships with their parents. If your plot centres around a revenge quest for a dead loved one, it doesn’t have to be a parent.

Siblings who got caught in the crossfire trying to protect your MC, or an aunt/uncle they were close to being poisoned works just as well. Best friends are also a useful source of grief, and the fact it’s someone outside the family perhaps gives your MC more of a push. Equally, a significant other may work, although that is a used trope too. It might even just be a beloved pet.

Use their Morals.

People in the real world do not simply act out of revenge for the death of a loved one. Character morals can be just as powerful a motive for action, and Young people in particular are just beginning to discover what matters to them, and so it feels at its most important.

Perhaps your MC feels that the magic system in your fantasy world does not allow for people with disabilities to have access, and so uses that as their springboard. Or in an apocalypse setting, the desire to protect fellow humans against a threat may act as the MC’s launch pad for setting up a safe base somewhere. Concerns over equality, safety, climate change, government choices and even things as small as how cereal is marketed can motivate a character into changing their world/current situation.

Create Conflict.

Arguments, breakups, scrappy fistfights with someone in a back alley. Conflict is one of the spokes of a story, as it creates opportunities for moving the plot forward, and can hold the characters back from achieving their aims. Using this to start your character’s story arc makes for an explosive scene, and allows immediate sympathy with the situation they are in. Everyone argues, has had someone they care about walk out of their lives, or has at least been punched, so the familiarity of a minor but important conflict helps the reader associate with the character, as well as setting up any skills the character has or may need in order to defeat the foe at the climax of the story.

Parental Encouragement.

In a good family situation, parents will want to support their children and young people in achieving their goals. And the same can be true in stories. Perhaps your character wants to learn to play hockey, for example. Their parents can very easily encourage them to join a practice group, help them buy kit, and encourage them to play in matches. Having a supportive adult can mean as much to an MC as having said support removed, and although this doesn’t work for epic fantasy revenge quests, it does create a welcoming atmosphere for a reader.

Those are the main ones I can think of off the top of my head. Do add in comments/tags any you know of!

Happy writing!🌿

[miraculouslbcnreactions]

When I first saw a Miraculous Ladybug salt post it was the usual Lila takes away all of Marinette's friends Adrien does nothing Marinette becomes super successful Lila gets exposed blah blah blah

When I see posts like the ones you post where people give actual constructive criticism about the characters and not favor one character over the other has made me realize that these are fictional characters and its not their fault they are the way they are. Also they're 14 what kind of 14 year old makes good choice's? Especially when they have the fate of the world/universe on their shoulders

If anything the character I really blame is Master Fu. He was obviously meant to be some sort of mentor figure for them or at least Marinette's mentor. He was the one to tell and encourage Marinette to keep everything a secret from Adrien. Comparing him to other mentor like figures in the world of superheros he isn't really all that helpful.

Compared to DC Ladybug and Chat Noir do not have any adult superheros to help them. In DC younger superheros have entire superhero families to help them out and if not that than they have other adult superheros to help them or they have an actual team. We know that other miraculous holders exist and the order is back I have a vague idea as to why they can't help but I still find it weird as to why they are around if not to help. Like phones and the internet exist do they not?

Sorry for they rant, I want to know what your thoughts are on this?

Your rant was fine! I don't think that I've talked in depth about mentors as a concept and I should both because I love mentors and because Miraculous has completely failed to give us any good ones. This is a writing failure not because good mentors are required, but because the show chose to have mentors characters and then not use them.

Before I get into the topic at large, I want to start with a brief discussion of mentors in shows aimed at young children as Miraculous' intended audience is young children and that fact is worth keeping in mind when discussing what Miraculous did wrong and some of the ways that you can fix it.

Shows aimed at kids generally avoid adult characters in major roles for the very obvious reason that the intended audience is kids, so you want the kid and teen characters to be the stars. This doesn't mean that adults aren't allowed to save the day or have important roles. It just means that they should be used sparingly. This is why mentors are a great addition to kids shows. They allow adult characters to be deeply involved with the plot without anyone expecting them to intervene because that's not their role in the story. They're not here to be the hero. They're here to guide the hero.

One of the powerful things about this setup is that it allows the writers to give the real kids watching at home real advice about real life problems. For example, if Marinette comes to Fu to talk about feeling alone and overwhelmed, then he can give her real, practical advice that would apply to anyone who is feeling alone and overwhelmed, but no one expects him to directly intervene because he's supposed to say hidden.

A lot of these elements apply to mentors in media aimed at older audiences, the rules just apply for different reasons, so I'm going to stop reminding you that Miraculous is for elementary school kids and focus on the failed mentor issue as it would be an issue no matter what Miraculous' intended audience was.

When it comes to bad mentoring, a lot of people focus on Fu and I get why. At first glance, he's the classic wise old Asian man who is supposed to be there to guide the protagonist on her mystical journey (not getting into the racism issue here, just know that I'm aware of it and that Miraculous dropped the ball on this in a lot of ways even though they absolutely could have made it work.) But Fu isn't the main focus of my ire because, while the writers seemed to have designed him around the mystic Asian trope, they never actually wrote him like a mentor.

He doesn't train Marinette and Adrien in the ways of the miraculous. He just sneakily gives them their miraculous and then disappears from their lives for quite some time. So he's not around to get them properly started on their hero journey. That's strike one for the mentor role.

Strike two is the fact that we never actually see him mentoring Marinette. I don't think that she ever went to him for advice? If she did, then it wasn't a big element of their relationship. When I think of Marinette and Fu, I picture her going to him to grab a miraculous or two before booking it back to the ongoing fight and that's about it. The guardian training she supposedly had was all off screen, so we have no idea how close they were or what he even taught her outside of potion making. Even that wasn't really him teaching her something. It was them working together to figure out a puzzle because Fu never completed his own training, making it impossible for him to properly train a successor.

Strike three is the fact that - outside of the King Monkey incident - Fu never gets directly involved in helping team miraculous. He's never gives them feedback on fights or works with Ladybug and Chat Noir to strengthen their bond. He doesn't even help them track down the two missing miraculous or hand out the temporary miraculous on Marinette's behalf, a choice I still find super weird. "This fight is super hard and we need help, so I'm going to leave Chat Noir to fight alone while I go get said help!" is absolutely nonsense logic and one of the many examples of the writers desperately needing to let Marinette hand her responsibilities off. Why wasn't this Fu's job?

This brings us to fix one: if you want the guardian to be a mentor - which is a role they arguably should have - then the guardian needs to be actively involved in Marinette and Adrien's lives in an on screen way. For this to work in the context of Miraculous - a show that really wants to focus on the teen characters - then the guardian probably needs a teenage apprentice who isn't Marinette and that apprentice will be the one doing the mentoring.

My pick for this is Luka for two big reasons. The first one is that his calm personality is perfectly suited to a mentor. The second one is that it seems insane to me to have the snake be a temp holder. The snake should be watching every fight, but staying out of the actual fight so that they can use their power whenever it's needed. That's the perfect role for a mentor character to fill. Someone who is active in the plot, but only ever as a support because their power stops them from getting more involved.

Moving on to the bigger issue.

As I said up above, Fu doesn't actually get my ire. While I wanted him to be a mentor, he never once filled that role and he didn't really need to because the show already had mentor figures that it was actively using and using poorly. Those figures are the ancient magical creatures that follow our heroes around, dispensing terrible advice whenever they feel like it. That's right, as much as it pains me, Miraculous' biggest mentor failures are Tikki and Plagg.

The miraculous did not need to have magical creatures associated with them. They could have just been magical jewelry that Fu handed out and explained. Instead, the writers chose to give us the Kwamis and I don't disagree with that choice. I like the Kwmais! The problem is that they're used in the most lackluster, asinine ways you possibly could.

The Kwamis are not presented as oblivious to the world and unable to give advice. They give lots of advice! The problem is that advice tends to suck! I can think of many examples of times where the Kwamis made everything worse, but let's look at the one that grinds my gears the most: Plagg's actions in season four.

In Rocketear - the episode where Nino gives Adrien an incredibly inaccurate picture of why he knows Alya's secret identity - we get this:

Adrien: I still can't believe Ladybug entrusted Alya and Nino with those Miraculous. Plagg: Of course she did. She's the Guardian. Adrien: But they're a couple and they know each other's secret identities. Plagg: So...? Adrien: So, why does she make it a rule that we can't know each other's identities but it's okay for them? Plagg: She's the Guardian, the Grandmaster Cheese Ripener, and you and I are just cheese on the platter. She decides what's on the menu.

Hey, Plagg, maybe don't tell your clearly upset and vulnerable teenage holder to just suck it up and deal with it when he's feeling alone and betrayed? Maybe encourage him to talk to Ladybug about his feelings so that he can get the full story? Knowing that they learned their identities during the Scarlet Moth incident would probably do a lot to smooth over Adrien's hurt feelings.

What's even more rich is that the episode Kuro Neko lets Plagg go off on Marinette for not appreciating Chat Noir:

Ladybug: What's gotten into him? I didn't do anything. Plagg: Didn't do anything? Well yeah, you did! You've been neglecting a very classy piece of camemebert on your plate for too long! And as a result it got runny, and moldy! Ladybug: What? Cat Noir never gave me any camembert. Plagg: Of course not, Cat Noir is the camembert! For a while now, you've been neglecting this camembert— I mean Cat Noir, and going on adventures with the all other cheeses! Ladybug: But he should be happy about it, it gives him more time off. Plagg: Cat Noir doesn't wanna have time off, Ladybug! He is in love with you! And your persistent calling on all the other heroes has broken his heart.

Dude, if you saw all of this going on, then why didn't you say something??? You and Tikki are in the same location for multiple hours five days a week. Go tell her how your holder is feeling and figure out how to fix the situation! Or be an actual mentor and encourage Adrien to talk to someone about his feelings! At the very least, cut up a wheel of cheese, sit down, and listen to your kid so that he feels less alone!

Also what exactly do you want Ladybug to do to fix the problem you presented? Let Paris burn until Chat Noir decides to show up to today's fight? Refuse to use the temp heroes even if it means losing a fight? None of those are valid solutions when the problem presented in the episode is Chat Noir missing fights. Especially when we know that he's doing it on purpose. Why are you yelling at her instead of working with her to come up with an actual solution? You are such a terrible mentor...

To be clear, I don't think any of this is intentional. I don't think the writers want Plagg and Tikki to come across as actively hurting their teenage charges via bad advice. I think Plagg and Tikki are supposed to be seen as good and helpful, but they can't fill that role because they're tools of the narrative and the narrative has really wacky views on what good advice is. Thus nonsense like the example I discussed above or Plagg and Tikki picking new holders instead of guiding their holders through an identity reveal.

I personally adore letting Plagg and Tikki be good mentors in my own stuff. It falls under the same category as Alya and Nino being terrible friends on screen. I acknowledge the problem and then delight in fixing it by writing the exact opposite setup because what is fanfiction for if not heavy self indulgence?

[low-budget-korra]

Arcane Hot Takes

1. The hate on Jayce is mostly for no reason. He was a good guy, genuinely nice and with no toxic masculinity. He never created Hextec to be a weapon or to destroy the world. And only got really mad when Jinx stole his creation and honestly? He had the right to be mad at that. He ain't perfect, he made mistakes but c'mon guys.

2. If you hate on s2 Caitlyn but idolize Silco, you're a hypocrite. The difference is that Caitlyn did all blinded by grief while Silco did blinded by the thirst for power

And speaking of Silco…No, he is not this revolutionary man some of the fandom make him out to be. He was a Mafia boss who filled the streets with drugs, divided and weakened his own community and even used child work in his factories. Yeah, he was not some Che Guevara freedom fighter. All he had was beautiful speeches abt it.

And also not this perfect father figure for Jinx, as he kept filling her paranoias and manipulating her

3. The writers made a miracle managing to end the show in a nice way, but the truth is that Arcane needed at least one more season to be perfect. 

In s2 they rely too much on characters' micro expressions and subtext. Which is not a bad thing at all, but in a first view a lot of things get missed

I already saw s2 three times, so if you think things were poorly explained, try to watch a second time. Better, binge s1 and s2 and I guarantee that a lot of stuff you think was outta nowhere, will make sense.

4. Caitlyn had the best character arc in season 2. Experiencing the phases of grief, getting radicalized and manipulated, opening her eyes and realizing what she was doing, a subtle yet important redemption.

And I Say "subtle" bc even if for me it was obvious, I know for a lot of people, it wasn't.

Also, the haters don't want her to recognize what she did wrong bc she already did, just not with those on the nose dialogues. The haters wanted her to be punished, which she also was. Girl was stabbed in the abdomen, betrayed by her right hand, was almost executed in front of her men, got beat up with a knife still in her abdomen and lost an eye. Yeah, I think she was punished enough and if you wanted more, just admit that you are a bit sadistic and move on

5. Arcane is fiction. Sure, it takes insp in real life problems but is still fiction. Its cool to be able to recognize the themes but project our world problems, anger and frustration towards the characters is stupid and makes you miss a lot of good stuff in the show. If you act radical abt the show, you don't have the right to judge someone that goes radical after losing her mom to a terrorist attack.

It doesn't matter if her mother was rich or something. In fact, Cassandra was one of the few council members, maybe the only one, who actually did something good for the Zaunites as she was the one that created those air filters for people in Zaun, the workers, be able to breathe without getting cancer or smt.

Yes, I know it's the bare minimum but she was the only one doing something. Heimerdinger in his 200y never did something like that and only tried to help Zaun when he was expelled from the council.

6. Vi didn know Jinx was wanting to off herself. Jinx already tricked her a couple times before and “breaking the circle” , from Vi’s pov could mean a lot of things. From offing herself to explode things again. She doesn't watch Arcane guys, she doesn't know Jinx as well as we do.

7. Having Zaunites helping Piltover in the battle wasn't lazy writing or disrespectful. It was literally about the fate of their world, y'all thing Ambessa and Viktor would stop with just Piltover? Who y'all think would be the next target? 

They also used the enforcers uniform because it is a tactical one, useful in a situation like a battle. I can hate on the police all I want but in a situation like that, I would rather go to battle with that stupid uniform and bullet proof vest than go on a simple tank top, jeans and converse.

And this shows how better the Zaunites are compared to Piltover and it's enforcers. They were willing to shallow their hate, their pride and help their oppressors for the greater good. That's a good heart, maturity and emotional intelligence.

[howtofightwrite]

I love picking at plot holes like scabs so i want my fight scenes to be as realistic as possible. However. There’s a creature in my head that says a buster sword is SICK AS HELL. What modifications would it need to be even remotely wieldable while still keeping its central appeal (huge sword big blade cool and sexy) intact?

You’ve made a mistake. You mistook suspension of disbelief for realism. This is a common problem that gets in the way of a lot of fantasy and sci-fi authors. So, don’t worry. It isn’t just you. However, realism vs believability is where your hangup is. Stories don’t need to be realistic to be believable.

The quick and dirty (and possibly unhelpful) answer is to create a world that justifies your buster sword, not a buster sword that’s trying to justify itself in a world that doesn’t want it. You step back from the sword itself and away from a world where reality dictates that it’s too heavy, too clumsy, too slow, and ask yourself: “in what type of world does this thing make sense?” And there’s about a billion different ways to create that.

The hangup with the realistic argument is that all of fiction is a lie. Good or bad, that’s what stories are. They can be very compelling, addicting, manipulative, feel incredibly good, and still be fake. The goal of a creator isn’t just to create stories that are believable, but for your audience to want to believe in them. Storytelling is always a joint venture between you and your reader. You are the salesperson asking your audience to come along for the ride. To keep their attention, you’ve got to spin up a good yarn. Build trust. The world has to feel right, but it doesn’t have to be right. Reasonable, not right. The goal is to take a cool idea and work backwards to how your society got here so that when seen from an outside perspective, the choice ultimately looks like a reasonable conclusion given the surrounding context. One of the better ways to build your reasonable conclusions is by studying the history of technological invention from the beginning to the midpoint rather than starting with the end point—the results.

History is full of weird, wacky, wild attempts and failures at creation. You’re not the first person to look at a human sized sword and wonder if it could, in fact, hit good. Or, really, better than swords that currently exist. Or, fulfill a battlefield role the sword was currently not occupying. Or, as we like to say, have real battlefield applications. The Claymore, the Zwhihander, the Zhanmadao are all real weapons that saw real, if not necessarily extensive, use. Like all weapons, they were specialized tools meant for particular battlefield uses. In this case, mainly as anti-cavalry support.

Ask yourself, why? Not just, why would I want it? Ask, why would I use it?

What actual purpose does the big cool blade serve beyond looking big and cool? What function does it fill on the battlefield? Why use the big cool blade instead of other weapons? What does it do better? What are some offsets which might account for the massive size? Technology? Superhuman enhancements, mystical or otherwise? Gravitic fields? Magic? Why is the big cool blade better suited to ensuring a character’s survival? What advantages does it provide? What is its practical value to warriors within your setting?

The initial defensive reaction is that we don’t need a reason because we have the Rule of Cool. That could be the reason, but I challenge you to go deeper. Go deeper than, “this was the weapon my character was trained to use.” The followup question is: why were they trained to use it?

In the real world, we can answer these questions both from a personal and from a larger social perspective. We may not be able to answer whether we’d use a gun, but we understand why humanity developed guns, why we use guns, and the purpose they serve both for personal protection and in their military applications. The answers don’t necessarily need to be good or smart. What matters is that an answer exists to feed your audience. When your reader starts struggling to believe, they begin to ask questions, they pick at the fabric of the narrative trying to figure out why their mind has rejected the story they were previously enjoying. What we, the writer, want to create is a chain of logic underpinning the narrative and its world. This way, when questions are asked, a reasonable answer is ready and waiting. While we won’t win over everyone, trust that your audience wants to believe. Trust that they’re smart enough to figure it out without being spoon fed. That way, you won’t fall into the trap of infodumping.

Worldbuilding always involves a lot more happening under the surface than ever makes it onto the page. Your characters will be the ones to demonstrate and act on the internal logic that’s been created for them without needing a billion questions to lead us from Point A to Point B.

If we look at human history in a wide view, we find that weapons are a fairly steady march forward that matches a civilization’s technological growth. We keep what works and discards what doesn’t. The crossbow replaced the bow as the main form of artillery in martial combat, but we still kept the bow. The bow still had practical applications. Guns eventually replaced the crossbow just like they replaced the sword, but it actually took a very long time. We had functional firearms in the Middle Ages.

Ease of Use

Ease of Training

Lethality

From a military standpoint, these are the three most important aspects for widespread adoption of any weapon. Easy to use. Easy to train. Lethal. The longer it takes to train a soldier on a weapon the more time your army is losing out on using that soldier and the more effective the weapon needs to be in order to justify its expense. Why give your soldier a big cool sword if they’ll never get close enough to reach the forward line to make the assault? Why have them use the big cool sword if operating the laser cannon is more efficient, effective, and keeps them alive longer? In the coldness of battlefield calculus, it’s often better to have cheap, efficient units rather than more expensive ones that might be more lethal but take longer to produce. No matter how good they are, you’re eventually going to lose them. Therefore, easy replaceability becomes a factor.

If you can answer those questions (and the myriad of other similar ones) you won’t just have a weapon, you’ll have a world. You’ll have more than a justification, you’ll have battlefield strategy, tactics, and a greater understanding of how the average layman characters in your setting beyond your main character approach warfare and possibly a technological history. You might even have several functional armies.

Ultimately, this is a game of value versus cost. Most settings that use big cool swords sacrifice ease of use and ease of training to amp up lethality. The weapon having a specialized function or only being usable by a specialized unit helps if that unit’s battlefield effectiveness is justified. Or, you could just have a weird technological outlier where its effectiveness doesn’t quite justify its cost even if the individual warrior is effective. A good example of this is in shounen anime where one character has a specialty that no one else has, a really cool, effective weapon that never appears anywhere else, because the length of training, high skill floor, and finicky nature of its use make it difficult to justify widespread adoption.

The danger is assuming there’s a right answer. There isn’t one. The value in learning the rules of real world violence is so you can break them. This way you can tell the difference between the vital rules necessary for suspending disbelief and don’t accidentally break the ones you needed to keep your audience invested.

-Michi

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[ilikekidsshows]

I get that alot of people go with the approach of "every Miraculous character is deeply screwed by the writers, so it's a writing problem" but at this point this feels like deflecting from the real problem

No shit stories and their characters are written by writers, but so many blogs I see now that go with that approach imo keep on dismissing the point of the problems people are pissed about because "well the characters aren't real, so I'm superior for saying it's the writers fault"

Guys, we KNOW they are fictional characters, you're not unique. But what is happening is that I get less and less out of the analysis posts from these blogs because they're beating around the damn bush especially when it comes to Marinette.

Yes, every character is screwed by the writing but Marinette has been retooled into the self-serving center of the universe who gets by though damn technicalities. This writing pattern is 2 disastrous seasons in, SHE IS THE PROBLEM.

You can try and sugarcoat that however you like by saying that Marinette is a fictional character so its the writers fault, but that doesn't change that Marinette's CHARACTER & WRITING is still the source of all the problems and that stories are being told to get emotional reactions. That's the entire purpose of a story.

No, I don't think people are doing it right by approaching all of Miraculous on a mere meta level. That's not how a story is supposed to be read. The meta level is an additional one on top of the emotional one, not the "rational way" to consume media.

And imo the analysis blogs I see around so much deliver less and less analysis posts I can do anything with. They are so caught up in explaining that the characters aren't to blame but the writers that they sideline why people are feeling the way they do.

There is this persistent dissonance in their posts about how apparently no amount of bad writing can change a character when that's just... objectively incorrect. Marinette for example is SUPPOSED to be compassionate and a thoughtful hero and partner/ leader to Cat Noir. Marinette in Canon though by this point is straight up NOT anymore.

But in their posts it's basically said that if people say that, then that makes them irrational because on a meta level the execution and effect of the writing is apparently irrelevant. Distant meta is king and the only rational way to engage with this story.

And I just don't see the point in that.

The outcome and the emotional effect of the writing is what actually matters. Not the intention behind it (no wonder people are using that excuse to defend Marinette's character. It's another variant of "but she MEANT well"). If Marinette is by now a toxic and even abusive partner and leader to be suck with, then that's the fucking damage the writing did. And said damage is DONE. That's her character NOW. Talk about the theory behind it however you like, the character CONCEPT is not Canon compliant anymore, and nothing is gonna change that besides facing the deeply rooted damage that has been done, analysing those on an EMOTIONAL level so you can then course correct the CANON character through the necessary development into becoming what the character was initially supposed to be.

Call me a dick, but just saying "the characters aren't real" is not a productive way of going about this dumpster fire anymore.

---

Another thing to take into account about the “it’s just bad writing” approach is that, like, it’s not like the way Marinette herself is being written has changed that much. What changed is how the narrative and other characters react to her and her behavior. Marinette has always been self-important, self-serving and self-obsessed, but these used to be treated as character flaws, signs of her immaturity and naivete she’d need to grow out of. Now we’re being told she’s flawless, actually, and has never done anything wrong ever and none of her mistakes were her fault. 

Like, I’ve recently been familiarizing myself more with the “my dear diary” teen drama genre, and it really is more of a dramedy genre if anything. Most of these series will have a self-important, self-serving and self-obsessed protagonist and the entire narrative is filtered through their self-centered world-view, because we’re basically reading their diary where they vent about things that annoy or excite them. Now comes the kicker: the “comedy” of the dramedy comes from how comically over the top these protagonists are when they clearly and obviously misrepresent their lives and themselves to the audience. Miraculous is leaning very heavily into this downright selfish protagonist archetype, but actually wants you to agree with the protagonist when you can see, with your own eyes, because this is a different medium, that the world isn’t nearly as unfair to our protagonist as she claims.

Here’s another kicker: if you aren’t laughing at the joke or projecting yourself onto the protagonist, you’re most likely gonna hate the protagonist of most “my dear diary” books. They tend to be the most opinion-splitting characters in their own fandoms, with readers either loving them or outright despising them.

Dismissing these kinds of fandom reactions only when they veer into the negative direction showcases the real motivation of the “it’s all just the writing” crowd. I need to dissociate from the show’s story in order to discuss why Marinette is still so beloved by the fandom, because I just can’t feel that way about her anymore. Similarly, the people dissociating from the story in order to explain why fans are disappointed and outraged by the story, can’t see anything worth getting upset about in the show. They think it’s all okay. They’re not approaching the show purely logically, they are still emotionally invested, they still like the show. Of course the seemingly logical approach to fandom unrest seems to just be defending Marinette and the show, because it is.

It’s basically a way to retreat from the criticism. Like, the accusations of Marinette being a stalker used to be easily sidelined with “it’s just a joke you don’t like” until they made it a sign of canonical mental instability. It was a way to say: "this is a silly thing to be upset about". Now we’re sidelining the abuse apologia with “it’s just bad writing, that’s not what Marinette’s character is”. What these people are actually saying is: “she’s made up, so my made up version of Marinette in my head didn’t do that.” Like, when you have to deny canon exists, your analysis isn’t analysis anymore; it’s headcanons at the very least, completely made up at most.

[alien-of-earth]

Lego Ninjago and Race: An Analysis for the Upcoming Live Action

I know there’s been a lot of discourse in the ninjago community since a live action movie has been announced, and there’s sure to be even more after the cast list is released. Many fans are afraid the cast will be all white, while others don’t care what race the ninja will be. Non-fans looking in from the outside might say, “Why does it matter? They’re legos, they’re yellow.” I’ve seen this argument more recently, especially revolving Arin in the soft reboot Dragons Rising.

The point of this longer post is to explain how race still exists in Ninjago despite the plastic, yellow nature of the characters, and why making the cast entirely or mostly white would be a disservice to the fans and the source material as a whole. So let’s ninja-go into this topic.

Part 1: Hair and Black-Coding

When people claim that legos don’t have race, they often claim it’s because they are yellow. However, they forget that legos still have humanoid characteristics, and one of the easiest ways to tell when a lego character is black-coded is to look at their hairpiece.

Here are some examples of hairpieces clearly meant to resemble black hair textures/hairstyles:

When characters have textured hair (i.e. Arin and Euphrasia from Ninjago) or locs/braids (i.e. Mateo and Zoey from Dreamzzz), it’s hard to argue they’re meant to be interpreted as anything other than black. And if that’s not obvious enough, there’s also:

Part 1b: Voice Actors and Black-Coding

People of color voice acting non-human characters doesn’t determine race, but it does add to character coding. This can be seen in characters from other shows, such as Darwin from The Amazing World of Gumball. Even though Darwin is a 2D animated goldfish, he has been voiced exclusively by black voice actors. Because of his voice (and other mannerisms/narrative elements), Darwin is generally accepted to be black-coded.

Being voiced by a person of color does not automatically make a character black-coded, but it can certainly add credence to characters who already have black characteristics, such as Arin and Euphrasia.

Part 2: Names

Another reason it’s hard for ninjago fans to interpret certain characters as white is because of their names. While many have stereotypical “American white boy names” (i.e. Jay, Cole, and Zane), other characters have names that are certainly not strictly American. Examples include Wu (a Chinese surname), Misako (a Japanese name), Chen (a Chinese surname), Okino (a Japanese surname) and Sora (Japanese given name). Ninjago may be set in a fictional world of animated, plastic people, but it’s still based on real-world names, and considering how a lot of the characters’ names come from East Asia, there is merit to declare that characters like Misako and Sora are meant to be interpreted as East Asian.

Part 3: Cultural Influences

Now, to the most obvious reason why it would be absurd to put an all-white cast on screen: the cultural influences. I am not Asian myself, but other ninjago fans have expressed frustration about the cultural melting pot that is Ninjago. It takes influence from both Eastern and Western cultures for its setting, worldbuilding, lore, and fantastical elements. Ninjago puts ninja, samurai, Kabuki, and Oni from Japanese history and culture, Djinn from Arabic regions, the yin/yang concept from Chinese philosophy, and dragons from various cultures into one narrative. There’s even a character named Ronin (which means a “wandering samurai”).

Additionally, the ninjago language seems to be inspired by Tategaki, an East Asian style of writing.

What this means is that Ninjago is brimming with real-life cultural influences. They rarely come from the same places and are not always faithful or accurate. In fact, they can sometimes seem borderline disrespectful and stereotypical in the earlier seasons- particularly with the portrayal of Chen and pilot Wu. However, it doesn’t take a genius to spot the East Asian cultural influences on ninjago. This is clear in the character designs, attire, and especially in the settings:

Part 4: What does this mean?

In summary, Ninjago is a fictional setting that takes inspiration from East Asian cultures, and has coded certain characters as certain races through more indirect means such as naming and designs. Even though none of the ninjago characters have 100% canon races, there is still evidence that some are meant to be interpreted as black or Asian. Therefore, making all the ninjago characters white would be a disservice to the fans AND the source material because it takes away subtle but essential parts of the characters and world.

Additionally: Representation matters. It could mean a lot for fans new and old to see the ninja becoming humanized and seeing themselves on screen. Not only would an all-white cast be unfaithful to the source material, but it would be disheartening to fans hoping for racial representation, especially in an age where “wokeness” is considered a touchy subject in some areas.

Part 5: Other Thoughts/Clarifications

The beautiful thing about Ninjago is that the Lego nature of the characters allows them to be interpreted in so many ways. The characters don’t have canon skin tones, eye color, body types, ages, heights, etc., so they can be whatever fans want. Whatever the fans interpret them to be or even what they feel like, they can be. And I think that’s beautiful.

TLDR: I don’t want the movie casting to limit the fan’s creativity or headcanons. Even if the cast isn’t entirely white, I hope people continue to make creations with their own interpretations of the characters.

Also: I urge fans to not harass the actors if they are white. I feel like the ninjago fandom is above that but I feel inclined to make this statement in advance regardless.

Finally: I’m leaving this post wide-open to discussion and discourse. I did surface-level research for the ninjago cultural influences, so if anyone wants to add on to or correct anything, feel free to do so. All I ask is that the conversations remain civil.

That is all :)

[pascaloverx]

BORN TO DIE

Summary: In a tense political setting, a Targaryen bastard working as a prostitute is summoned by Prince Aemond to the Red Keep. Aemond wants her to approach his dragon, Vhagar, as a test of her worth. Although he plans for her to claim another dragon in the future, her immediate challenge is to survive Prince Aemond demands while trying to stay alive.

Author’s Note: This work is set in the world created by George R.R. Martin, as depicted in his book Fire & Blood, and none of the characters belong to me. The story will follow some events from the series House of the Dragon (2022), but with changes to fit the fanfiction narrative. Therefore, it will not adhere strictly to the series' storyline. This fanfiction is a work of fiction and may contain inappropriate language, adult content, and violence. Readers be warned. I hope you enjoy the story and interact with it. I apologize if there are any errors in the High Valyrian sections; I used a translator and am unsure of its accuracy. Thank you and happy reading.

PREVIEW TWO

ONE

The journey back to the Red Keep is silent. Aemond communicates only through impatient grunts whenever your hand slips from his waist or when a trot from his horse makes you sway closer to him. The truth is, you’re unsure how to hold onto his waist without practically merging with him. And he’s impatiently racing toward the castle. Your mind is restless. How are you supposed to claim a dragon for Prince Aemond? And what if you fail and end up dead?

"When we arrive at the Red Keep, follow me without further interaction. It’s crucial that your existence remains a secret. We’ll depart as soon as possible to find some use for you. However, your clothes, as well as your smell, betray your origins as a smallfolk. If I’m to endure this journey in your company, it’s better that you’re not reeking." Aemond’s first words directed at you cause discomfort. Not that being treated this way is new, but the discomfort comes from the reality that, once you head toward Dragonstone with Aemond.

"It seems that the mighty Prince Aemond is forgetting that the only safe way to reach Dragonstone without being recognized is by looking like someone like me. Without that fancy attire or that fresh scent, as if you’ve just bathed. Even your silky hair gives away your position. I know how to be invisible, my dear Prince; the question is whether you can be too." You speak, resisting a fleeting urge to lean against Prince Aemond’s back and rest your head on his shoulders.

"I don’t recall asking for your opinion on the matter. Allow me to offer you the opportunity to remain silent before I silence you for good." Prince Aemond could easily embody the arrogant prince. You glance over your shoulder and notice him slightly turning back, likely wanting to gauge your reaction to his threat. You stare at him without saying a word, and you can tell he’s proud of having silenced you.

A few moments later, you arrive at the Red Keep. In that first moment, you question how you’re supposed to dismount from the cursed horse. Aemond has no trouble at all, though he nearly knocks you off in the process of getting down himself. He then begins speaking with some of the King’s guards. Unsure of what to say, you remain silent, still on the horse. You think that if you were to risk a deadly escape, this would be the perfect moment—though lacking any real riding skills, you probably wouldn’t get far. Just then, something makes Prince Aemond notice your hesitation.

“Do you intend to stay on that horse all day? We have tasks to complete,” Prince Aemond snaps, his tone sharp and impatient—his usual demeanor. You look at him, embarrassed. Perhaps he expected a prostitute to know how to dismount a horse with ease. After all, riding cock it's part of what you do for a living.

"I do not intend to waste any more of your time, Your Highness. But I must point out that if I have no idea how to get on a horse, how am I supposed to get off?" You look at Prince Aemond with a certain boldness, wanting to laugh at the angry expression that hovers over his face. He says nothing, simply extends his hands toward you and immediately pulls you down, as if his impatience has reached its limit. His cold hands brush against your skin, indirectly touching your thigh as he yanks you off the horse. You let out a small groan, not as quiet as you would have liked but nothing too conspicuous. The feeling of his hands on you sends shivers down your spine. He however, slightly drops you on the floor as if you were an expendable utensil. You almost stagger but manage to balance yourself as you watch Prince Aemond turn away. You fix your ragged dress as he tries to compose himself, before following Aemond who is already entering the castle.

Aemond orders a few servants to assist you in bathing and changing out of your current attire. He instructs them to provide you with discreet clothing and a cloak. Then he turns to you and whispers near your face, "When you’re done bathing, come to my chambers." You’re not entirely sure why he wants this or if he realizes you have no idea where his chambers are. But you nod gently, confirming that you will go to him.

A servant leads you to a secluded area where there’s a communal bathing space, with other servants also bathing. The sensation of being seen by strangers while you’re naked is a familiar one. Murmurs fill the air, and everyone seems curious about you, though no one speaks to you directly. Not even the servant assisting you. You imagine they’re afraid of Aemond. After all, you are like them—a servant. Moments later, you find yourself dressed in different clothes, delicate and unlike anything you’re used to wearing. The servant finally speaks when she notices your confused gaze, searching for Prince Aemond’s chambers.

"Prince Aemond's chambers are just beyond that door. Knock before entering if you wish to remain alive." The servant speaks softly with unexpected delicacy. You look at her as if relieved to finally know where his chambers are. You want to thank her but imagine that she would rather pretend that this interaction between you two never happened. So you quickly head to Prince Aemond's chambers, silently and taken by nervousness. The servant's words are still clear in your mind as you knock on the door.

Despite knocking on the door, there was no response. You find yourself compelled to enter Aemond’s chambers without an invitation. You fear his anger for not following his order to come to him after bathing. You enter quietly, taking calm steps and making no noise. The first thing you notice is how spacious the room is and how warm it feels compared to the cold water you just bathed in. You immediately think that being a legitimate child of a King must have unimaginable advantages, and you wish you could one day enjoy such comfort for yourself.

"Since you so imprudently entered my chambers, perhaps you'd like to assist me…" Prince Aemond says, appearing suddenly in front of you, which startles you. But it’s not exactly his presence that frightens you. What frightens you is the fact that he is naked. Completely naked, just with his hair loose, even without the eyepatch. Immediately you turn around.

"Your Highness, what kind of assistance do you require from me?" You speak almost as clearly as you can. You have just seen Prince Aemond's cock. And despite your familiarity with cocks, you were not prepared. For a moment, you hope he doesn't misinterpret your reaction.

"I require your assistance to bathe. Do not let your imagination deceive you; I have no intention of having you as a woman in any situation, neither now nor in the future," he says, his tone dry, leaving a bitter taste in your mouth. He truly seems to disdain you, yet he prefers your assistance over that of any other servant in the castle. You nod slightly, acknowledging that you understand he does not desire you, and then turn to approach the bathtub where Aemond has just entered. You need to crouch but manage to assist Prince Aemond as you take the sponge and begin to wash his body.

"Prince Aemond, do you really intend to leave your dragon here and come with me to claim another dragon?" you ask, trying to gently wash his body with the sponge while he seems lost in his own thoughts before your question interrupts him.

"Certainly, it is a risk. But leaving a prostitute I do not trust to seek out a precious asset like a dragon, whether alone or accompanied by one of the Kingsguard, seems foolish to me," Prince Aemond says, observing you with his remaining eye as you touch his back and neck with the sponge. The scent of flowers from the bathwater fills the air, creating a palpable tension between you and Aemond.

"If you do not trust anyone around you, your nights must be quite restless. I may not understand what it means to be a Prince, but it seems lonely not being able to count on someone to do what you expect of them. At least you seem to trust Vhagar, since you’re leaving her here," you say, turning to wash the front of Prince Aemond, positioning yourself face-to-face with him. He then grabs your wrist and pulls you closer to him. His remaining eye seems to bore into your soul as you face him, the scar over his other eye drawing even more attention. You don't understand the reason for his sudden proximity, though you can guess that you must have irritated him.

"Your curiosity about my feelings is an inconvenience. Whether my nights are restful or not is of no concern to you. Whether I trust or distrust those around me is irrelevant to you. The only matter you need to focus on at this moment is that you are to claim a dragon on behalf of the rightful King Aegon II. Now, you may leave my chambers. A servant will show you where you will be staying for the night. Tomorrow, we shall depart for Dragonstone," he says with a stern demeanor. You sense that you have touched upon something deeply personal. You set the sponge aside in the bath and, without further words, proceed to find your lodgings for the night.

The following morning, you are roused by a servant who informs you that Prince Aemond is awaiting your presence. Your body aches from having slept in a corner, far from the scrutiny of any significant figures in the castle, as per the Prince’s instructions to remain as inconspicuous as possible. You are provided with a piece of bread and a bit of water to refresh yourself, and then you are prepared for departure. A cloak is draped over you to aid in disguising your appearance.

You are then escorted to the castle’s exit, where you find Prince Aemond waiting with a stern expression. He is clad in a hooded cloak, his hair presumably secured out of sight, as no strands are visible. He briefly glance at you before looking away, as though there is something he wishes to convey but is unable to express, or perhaps it is merely an illusion of your mind.

"It appears you are appropriately attired for the occasion. However, there remains one item missing," Prince Aemond states as he assesses your appearance from head to toe. While you do not fully comprehend his intent, you infer that this might be his way of offering a compliment.

"Pray, Your Highness, what am I lacking?" you inquire, your tone tinged with irritation, which is understandable given the discomfort of your previous night’s rest. Prince Aemond responds with a faint smile and proceeds to grasp your hands, binding them together with a rope. The unexpected nature of this action leaves you momentarily stunned, and he appears to take a certain satisfaction in ensuring the rope is fastened securely, rendering escape impossible.

“Now, you are tied to me,” Prince Aemond declares as he secures the other end of the rope to his own waist. You cast him an angry look, fully aware that this must be an act of retaliation for the previous night. After a deep, frustrated sigh, you accept your predicament, realizing that this journey with Prince Aemond will test your limits in every conceivable way.

[olderthannetfic]

whiny confession time: I do not care about being morally consistent one way or the other!!! it annoys the shit out of me when people are like “why are you so critical of (adult x minor, incest, abusive etc etc etc) ship when you like (extremely problematic ship in other fandom)??? you’re throwing stones from glass houses!!!” and other such bleating. 

dude, the reason I hate YOUR ship is because IT’S OUT OF CHARACTER you stupid sack of shit!!! my one and only criteria for whether a ship is “okay” is: Would he fucking say or do that? No? He would not? Then it’s shit!!! It’s actually really simple!!! The entire appeal is in the context of the canonical characterization, even if there’s an AU or crossover or dark premise or whatever else in play!! The characters should still feel like the actual characters, not some randos shambling around in their skins!!! otherwise make an OC and stop subjecting the rest of us to your flanderized bullshit!!!

It doesn’t matter if you age one of them up or make it wholesome or whatever other asinine thing you think will make it “morally correct” to me, it is INTELLECTUALLY WRONG not MORALLY WRONG because its FICTION and based off of inherently shallow portrayals of the characters in question. The ages or familial status or what have you have nothing to do with it!!! Stop trying to deflect my criticism of your bad writing and interpretation by saying I’m being moralistic!!! I don’t give a shit about that!!!

MY problematic ships are so blatantly homoerotic in the source material you would have to be willfully blind not to see it. YOUR problematic ships are based off of nothing but shit you made up because you’re trying to force romance where there is none, and obnoxious fanon mischaracterizaton. We Are Not The Same

(should note that I never actually say this to anyone unless they start getting real up my ass, i’m not that much of an asshole, but god i think it all the time. i am that person that your social anxiety is conjuring. i am such a judgmental bitch. i pray for the downfall of people like this. i hope they get a flat tire.)

--

[ranfordgallus]

Yet another rant

The whole "its not a child its a fictional character" argument to defend liking underage characters as an adult is so..weird, like okay...a fictional character about what? How old is the so called fictional character billy? Literally what is that argument, its a character...that is meant to look and be a kid OF COURSE PEOPLE ARE GONNA FIND YOU WEIRD FOR LIKING A CHARACTER THAT IS A LITTLE KID YA GOOF

Who said this is about real life i know its fictional you dumbass that doesnt make it any better, not as bad as actual pedophilia, but..not better either you molding dildo like just say you like kids bro even if its a fictional character stop trying to make excuses, matter of fact if you're loud and proud might as well say it to the public, outside not in the internet

Am i accusing adults who like underaged characters pedophiles? ...well if a pedo thats into actual kids but doesnt hurt them irl because they only express it on the internet but doesnt act on it is still considered a pedo then..ya know, who's to say...its...a hard take from me but if i see someone thirsting over a child character and they're like 30 years old i dont think I'd trust them near actual children you feel me..i dont wanna say they ARE pedos but...i dont think they should be near an elementery school playground in a way

[certified-eureka-posts]

About this blog!!

Hi! This is a sideblog for me to dump posts that remind me of Eureka: Investigative Urban Fantasy, an excellent system for tabletop mystery games developed by @anim-ttrpgs. Below the cut is information about Eureka, its creators, myself, and what to expect out of this blog.

What is Eureka?

Eureka: Investigative Urban Fantasy is an indie tabletop roleplaying game by the very talented team at @anim-ttrpgs, focused on providing mechanical support for stories where characters investigate mysteries, as well as allowing for the presence of supernatural phenomena and characters. In my opinion, it is the most elegant, cohesive, and interesting TTRPG system that I have ever read or played in terms of its mechanics, storytelling capabilities, and even its perspectives on society as a whole. This blog is, more or less, "propaganda" convincing people to give the game a shot – I'm not affiliated with its creators in any way other than being acquainted with them through their work and online communities, but I love the game and its community, and I'd love to see it succeed, so I want to share an idea of what it is and why I like it.

What makes Eureka such a great system?

A whole lot! Its systems are deeply elegant, creating a game where players can piece together mysteries alongside their investigators in a grounded world that still leaves space for supernatural intrigue. Combat is swift and strategic, but deadly if you go in without a plan. Investigations can be complex, but even the stickiest of situations don't require railroading to keep players on track. Mundane and supernatural characters alike have access to unique abilities, quirks, and skills that make each character feel distinct in mechanics as much as in flavor. The game interacts with the real world by way of fiction in a way that's refreshing and endlessly fascinating.

Systems like Eureka! moments (which allow investigators to retroactively learn information from a previously failed roll) and the streamlined character creation system allow the game to run smoothly and efficiently without getting overly bogged down, and mechanics like the Composure meter (representing an investigator's energy level and state of mind) and the Success/Partial Success/Failure resolution mechanic create an interesting element of risk where player choices matter a lot.

On top of all that, Eureka includes rules for supernatural characters that beautifully integrate the themes, traits, and abilities of classic folkloric or media monsters, making for intriguing secrets, hard choices, and a lot of variety in the gameplay of different investigators. (Most of this is already true of mundane non-supernatural characters, but it's carried through into the lens of vampires and other monsters very elegantly.)

I'd love to see the tabletop gaming scene as a whole take notes from Eureka's handling of a lot of different problems, and I'm constantly excited to see what their team comes up with next. If you ever want to run a mystery story in a tabletop game (especially if systems like D&D 5e have disappointed you on that front), I would seriously recommend Eureka as the game to use for that purpose, and if you're interested in the hobby at all, I would recommend reading Eureka as a way to get valuable insight into the thought process that goes into game design in the tabletop space.

What can I expect to see on this blog?

This blog is for basically any post I see that makes me think of Eureka. Most of the time, that includes references to the monsters and phenomena referenced in the rules about supernatural characters – posts about vampires, werewolves, witches, and alien shapeshifters, for example, are often right at home here. In particular, posts about these kinds of supernatural beings being normal people and living normal lives tend to remind me of Eureka. Other things that are reminiscent of Eureka include noir and neo-noir aesthetics, which the game owes a lot to, and popular detective media, which is ultimately its core inspiration.

Who runs this blog?

I'm Nora, my main blog is @mc-cookies, and I am just a fan of Eureka. I'm not directly affiliated with the creators (hell, they don't remotely have the budget to make me advertise for them), but they and the rest of the community are super nice people who have a lot of insight about the process of making and playing tabletop games.

Who makes Eureka, and how do I support them?

Eureka is an amazing game, and independent tabletop designers across the board do a ton of work to make art that I enjoy a lot, but unfortunately it's not the most welcoming market to be in. Wizards of the Coast, and by extension Hasbro, has what is effectively a monopoly on the TTRPG hobby in the form of D&D, and it's hard for new creators to break into the space because of that. Eureka is made by ANIM TTRPGs, a very small group of designers taking on a very large project. While they're gearing up for the full release of Eureka and preparing their next projects, any support is helpful to them.

To read Eureka, visit their itch.io page to download a fully playable beta version on a pay-what-you-can basis! Even free downloads can support the game by bumping Eureka on itch's algorithm and getting it recommended to more people.

To support ANIM more, consider subscribing to their Patreon, which will grant you access to more frequent updates of the Eureka beta, as well as concept art, previews of their future projects, and a community discord server.

To give on a one-time basis, use ANIM's ko-fi page to donate to them more directly. Right now they're also taking donations to add custom characters into the rulebook as possible random encounters, and ko-fi is the place to go for that!

If you just want to interact with the team at ANIM and learn more about the work that they're doing, give them a follow here on tumblr at @anim-ttrpgs – their blog has similar content to this one, as well as regularly posting excerpts of the rules, answering people's questions, and discussing the broader tabletop gaming hobby.

And last but certainly not least, ANIM also runs a TTRPG Book Club server on Discord, which is excellent for finding RPGs to read and play and people to read and play them with, and is a great place to interact with other people who are interested in indie TTRPGs (including ANIM's staff and other fans of their work).

What's the deal with your avatar?

That is a "snoop", a stylized human figure serving as the mascot of Eureka! Designed by @theblackwarden, these little guys appear throughout the rulebook to graphically represent various mechanics, and they're very fun designs. This one, in particular, represents the "anime wolfgirl", which is a humanoid form that wolfman (aka "loup-garou" or "Hollywood werewolf") investigators can take, reserving only their ears, tails, and claws.

I have more questions!

My ask box is open! Have fun checking out the other posts around this blog :)

[damnfandomproblems]

Fandom Problem #7004:

Can the "astarion was 39 when he was turned, but even though hes a literal mature adult, elves view anyone under 100 as borderline children, so since he turned at 39 he basically died a child and yall are simping for a dead child" people fucking die or something already. Please leave the baldurs gate 3 fandom already.

I seriously thought with a game like this the fandom might act like adults BUT NO!

First of all

Its fiction.

Second of all

Elves arent fucking real.

Third of all that not how that fucking works.

To someone whose immortal or long lived they would view anyone significantly younger than them as immature and lacking experience.

If any book says "they are seen as children" first off that is horridly inaccurate. Secondly you are taking the sentence too literally. They wre seen as "children" in the way that they dont believe elves (considering the long lifespans) under 100 have had enough life experience and time to learn in order to be considered "mature" or "adult"

Its a fucking social and cultural thing not a fucking biological one.

Regardless it doesn't matter if hes undead(a vampire) and was turned at a young age. He is still a fully developed adult who has lived 2 more centuries by the time we meet him.

I count myself lucky i havent seen people try to "minor code" him even more over the fact he was tortured and sexually abused and therefore still can consent to sex (regardless of what path you take with him)

Please just get your heads out of your asses and stop looking for reasons to make something problematic and bully people out of liking something. Its fucking pathetic and if astarion was real he would be fucking offended at the notion that he isn't strong or mature enough to handle himself or that hes a fucking child or "minor coded" after everything hed been though. You not only disrespect spit on real survivors, and ones who relate to his experience but also the message his character conveys.

Fuck

Off.