#how to play risk

[shotmrmiller]

there are two modes to simon. handsy and handsy.

handsy is the gentle hold he has on your wrist when you're watching a movie on the couch, his thumb brushing your knuckles, tracing ever bump and curve. it's a cozy arm thrown over your waist, weighty enough to leave your side sore after, with his leg slid between yours while he snores into your ear after a long day's work. the hand on your knee under the table while eating breakfast, lightly squeezing when you ask him if he wants more.

and then there's handsy. his grip tight around the soft of your waist, fingers creating little divots into your flesh as he tries to slow the pace you've set, feeling his climax too close too soon. it's how he fists your hair and maneuvers your head to the side without much effort while you're on your stomach, the light prick on your scalp only adding to the pleasure, as he mutters into your ear if you can give him another one. (guess you'll die, then.)

how he paws at your arse when he's got you on your knees with your face dug into a pillow as he pistons his hips, the occasional slap of his balls onto your clit making your ears ring and calves tense almost painfully, until he pulls you up, his chest and your back slick with sweat and you come with his one hand around your throat and the other jerking little circles on your stiffened pearl.

the two touches are so different from each other, one a tender thing as if he's afraid to hurt you and the other wanting to hurt, but a different kind of ache, the one he will always soothe with his fingers, mouth and cock.

(call him a triple threat.)

whether you like it or not, you've been conditioned. soft and gentle means affection and care, similar to him bussing the side of your head every morning before work while rough and firm means you're about to be ploughed until you're left to soak in a bath to recover from the onslaught.

and you'd been prepared to take this secret to the grave, to not tell a soul how he'd pulled you out of a pool with enough strength to feel your rear shoulder sting and you'd just about moaned in broad daylight. or how he'd moved you out of soap's trajectory during the first meet by the wrist and if you hadn't been wearing a jumper, your peaked nipples would've been visible to anyone.

but naturally, things never go your way. he'd found out in no time and now he uses that knowledge to his advantage. a quick sneaky fuck in price's bathroom during a barbecue starts with a vicious tug of your arm. getting ate out in the back alley of a pub: giving your thigh a squeeze so tight it could bruise while you sip on the swill you call beer.

and every single time he's pulling your pants down or flipping your skirt up, you're already dripping with want.

now to get him to stop manhandling you like that when the 141 are around.

(soap's left like a deer in headlights after he forcibly sat your tipsy arse down next to him because "LT said to keep 'n eye on ye," and a moan had slipped past your lips unbidden and now the girls boys are fighting someone help)

[poorly-drawn-mdzs]

I know those eyes.

[First] Prev <–-> Next

[mrmrsman]

The bats have so many folks around, even if they aren't always working together. Enough that folks like to joke/write about Danny just kinda showing up acting like he already lives there. He just kinda blends in.

I'd love to see more magic motivated versions of this. Some kind of spell that affects the bat's perceptions of the past and present, making them actually miss that this boy wasn't with their family too long ago. Maybe it changes their understanding like it's a time line shift, maybe it fogs their mind just a tad and makes them glaze past something like it wasn't even there. I like the second if only because I feel like that would make it more likely for the bats to realize a spell was a foot.

Imagining this from Danny's side, hes terrified this whole time of getting found out. He knows how and when he showed up here and maybe even how flimsy whatever magic is in place is. Imagining a Desiree wish that was either very carefully worded or Not so carefully worded. Maybe he placed himself with the Wayne family with the expectation that he would quietly mooch of some rich idiot until he was ready to be on his own. Or maybe he wished himself to be a part of the batclan, taking up a mask and patroling with them as a bird that Doesn't Exist.

Ofc eventually the spell has to be broken, leaving the bats confused worried scared angry probably even amused, and a billion other things. WHY did this teenager decide to adopt himself into the Wayne/bat family? Who the hell is he and where did he come from. Someone call Zatanna, there is some magic Fuckery going on.

[rastgeleticaret]

DEPREM BİNA RİSKLİYSE İKİ SEÇENEK VAR

#deprem #bina #risk Merhaba,’Haberin Sosyal Medyası’ Haber Aktüel’e hoş geldin! Türkiye’de dijital haberciliğin benzersiz örneği olan Haber Aktüel’in Youtube kanalındasın. Bu kanalda gündem ile ilgili özel içerikler ve röportajlar bulabilirsin. Tarihten siyasete, bilimden sanata her alanda içerik bulabileceğiniz kanalımıza abone olmayı ve bizi diğer sosyal mecralarda takip etmeyi unutma! Her gün…

[lizzybeeee]

DATV explaining the 'Regret Prison'

A REGRET PRISON IS STUPID AND I'M TIRED OF PRETENDING THAT ITS NOT

TL;DR: a prison can serve as a metaphor but it shouldn't be entirely comprised of a metaphor.

From what I understood from what the game gave us: Solas has made a new prison to move the God's too - since bringing down the veil would free them from the Black City. This new prison is separate(?) from the fade or so far removed/contained that bringing down the veil would not compromise it...apparently. We interrupt his ritual, Solas gets sucked into the new prison he made, and the elven gods are free.

When Rook gets kicked into the fade they're physically there - which means it's a physical place in the fade, like how it was a mixture of physical/thought when we entered it in DAI. Which makes sense - the gods are real and living beings, they need to be in a place, there must be some aspect of physicality to it.

Alright, cool, it's a Black City 2.0 - I assume it's better defended to prevent people breaking in/out again?

NOPE.

We get there and it's a 'regret prison'?? It's tied to the regrets of those within it? Composed of regrets??? Solas had to wait for the right moment for Rook to be sufficiently 'full of regret' that they could switch places?

So is the prison tied to Solas's regrets? If so, how can Rook escape? The prison seems to work around the idea that it relies on the regrets of the person it's holding to work - which is how/why Rook was able to be trapped and later free themselves (along with whatever remains of the team apparently being able to do something on their end, not that we hear about it).

WHICH IS STUPID!

Are you telling me the prison intended to hold to megalomaniac elven gods was going to imprison them based on their own regrets? Is Solas assuming that Elgar'nan and Ghilan'nain are as self-pitying as he is? They'd break out quicker than Rook did! He made a time out corner for the elven gods to sit in and gave them an out if they reflected on their emotions/regrets or decided that they don't regret what they did. Elgar'nan, a spirit of tyranny, is not going to 'regret' his actions - he is going to justify them by telling himself and others that he knows what's best.

We can come across some of Solas's regrets in the prison if you run around a bit and explore:

Remnant of Failure - talking about the orb from Inquisition.

Remnant of Parting - talking about Mythal

Remnant of Reflection - more vague, talking about the Titans I believe.

So maybe he altered it - maybe he intended the prison to be 'locked' with his own regrets because after a millennia of having a pity party he still can't bring himself to self-reflect and look to the future. But what if Solas died? Or if his guilt lessened - would it diminish the strength of the regret prison?

We already have pre-established lore (though DATV has shown they don't really give a crap tbh) that once the being that has claimed/altered an area of the fade is slain, it's influence diminishes both in and outside of the fade. So if the prison was tied to his regrets then it would require Solas to basically live forever to keep it stable - especially if he brought down the veil and removed the one barrier that kept the world and the fade apart.

Rook and Solas needed some assistance to exit - but it doesn't seem like it was much! Solas used his dagger and Rook just...got out through a fade tear? This is Solas's 'more secure' second prison? It has a worse track record than the Black City! If Rook - who is not an elven god - managed to escape the regret prison what is to stop anyone else from breaking in and out of the prison?

And what did Solas intend to do with the blight - the bulk of which is apparently in the black city?? If bringing down the Veil would free the gods in the black city doesn't that mean that the blight would also be released?! Did he have a plan? Why does he go fully ahead with bringing down the veil at the end if the black city is still there and filled with blight?!

I get it: the 'regret prison' is a metaphor for how Solas holds onto the past and how Rook can move past their regrets and grow. He's trapped by the past - it's a prison. Cool. But this prison is supposed to by a physical place to contain the gods - not just to solely contain Solas. The mission is literally called 'A Cage for Gods'.

The Black City is an actual place that's so far out of reach of anywhere else in the fade that no mage can ever reach it while in dreams - let alone physically, which was only done once and took tremendous effort/blood sacrifices. It made sense - it was cool to see floating in the sky in DAO!

Though it's not said specifically, it's strongly implied that Arlathan is the Black City. You can see in the concept art that floating elven city is exactly the same as the black city in DAO! It's this foreboding thing just lurking in the sky - a constant reminder of the sin that led to the horrors of the blights and darkspawn. A real place with lore and history that also serves as a metaphor for the hubris and destruction of those who call themselves gods and act as tyrants -> for both the evanuris and the magisters.

I WANT TO UNDERSTAND THIS BIOWARE!

WHAT IS THIS KINGDOM HEARTS NONSENSE???!!

[dykedvonte]

I think a big misunderstanding is the power people give Curly to actually change things about the way the pony express operates or could’ve done things on the Tulpar.

We are talking about a company that docks pay for bad synergy despite mandated psych evals that should tell which staff members would work well together, only allots for 5 hours of sleep despite having literally no other tasks to truly do and locks all resources behind the access of one person. The last one is likely to manage resources and make it easier to justify collective punishment and blaming one person for it; someone needs something in “excess” or the captain gives in? It’s all on them your pay is docked. Instant resentment.

It’s insidious how the company works, it’s by design to distract you from coming after them, to force tensions to line their own pockets. With all the restrictions and forced interactions, altercations are bound to happen. 5 hours of sleep a day, limited sources of entertainment, no real tasks… the monotony alone would cause bad cabin fever, mix that with just only one absolute mediator and you get the exact environment that allows shit like in the game to happen.

The idea he could just complain and try to throw his weight around to get them to dig into their pocket for the crews comfort is laughable and misses the predatory and dehumanizing aspect of capitalism the Pony Express represents. Curly was and is still just another asset to them. Being a top show pony doesn’t mean he’s anywhere close to the actual top. He is the top of the working ladder, not whoever’s in corporate, he wouldn’t even be on the bottom step unlike what Jimmy perceives. The resounding recommendations he would get are almost mocking as they throw him out like nothing just like the rest. Being a shitty fucking company, how much do you bet they’d mean anything anyways, especially since he wanted to leave the field all together.

He made a fuss and they didn’t listen, he says he should’ve done more but you can tell he knows it wouldn’t have changed anything. Jobs like this are willing to make a sacrifice if it means even a penny more. Curly makes a bigger fuss they likely would’ve just found an “unrelated” reason to fire him, hired a more pliable guy or, terrifyingly, promoted Jimmy. The company was failing, going to shut down whether anything happened on the ship or not. But knowing that they were shutting down and that everyone, including him, would be out of a job with this being their last paycheck, he had to factor in not destroying the last bit of their financial stabilities combined with every other issue on the vessel and his own. He gets another cryopod or locks and then he has to break to them that they are not only fired but there will be substantial cuts to their paychecks due to the “upgrades” (things that already should’ve been in place on their part) on top of anything else that could be docked along the way.

You can blame him for saying it so early into the trip but then again, if he mentioned it later who’s to say it wouldn’t have been worse? On the capitalism side alone how would people in a galaxy away from home, out of a job and already stir crazy react? Don’t get me started on how Jimmy would have reacted if he realized he only had two days left to fix what would be a very hard to miss “problem” in his head…

I can’t even consider explaining this as devils advocate because it’s just facts of the world we and they live in and factors that heavily affected the situation. People are just so quick to make claims on the ease of the choices when P.E literally makes it hard to choose to do anything but suck it up.

[nellasbookplanet]

The more time I sink into andromeda, the more I suspect the biggest reason it ultimately failed commercially was because of the massive tonal shift I've already mentioned, and how there was probably a pretty big chunk of original trilogy players who simply no longer fit as a demographic, while the game failed to reach the people who might’ve enjoyed it.

The original trilogy, much as I love it, feels a little bit like a wishfulfillment power fantasy for a very obvious demographic. Almost all women are overtly sexy in design and the f/f relationship in the first game seems to be written along the guidelines of 'what would a straight man find hot'; you play as someone cool and confident and powerful, the most specialest human ever, and maybe you aren’t always respected but YOU and the NARRATIVE always know you're right and you get to be rude to and sometimes punch/murder people who disagree with you so it’s fine. The game then salvages all this by means of genuinely well-written characters and arcs, really cool sci-fi tech and lore, a fantastic story, and meaningful and hard-hitting choices and consequences (which also allow and often encourage you to steer away from that exact macho ideal).

Enter andromeda. Instead of being a super powerful supersoldier from the start, you're the kid of one. You barely know what you're doing. Everyone doubts you, including yourself. You don’t get the assuredness of knowing you are Right and Cool that you have as Shepard. You don’t demand that same respect. And I'm sure there are a lot of people who hated that.

[budugaapologist]

still dont see how so many people say that dawntrail is poorly written in comparison to other expansions like. what, did you realize you had to learn about a new culture and immediately not care anymore lmao? you've done it before, was this one not white enough for you?

genuinely i think more people should do side quests during msq so idk you can form a heart about the characters you're interacting with if you struggle with that and understand the land better so when impactful shit happens your illiterate ass can actually read and have empathy. theres no excuse for this.

if you can't handle storybuilding and character introductions from the expansion that feels like stormblood and shadowbringers had passionate gay sex that got one of them pregnant and birthed a beautiful daughter they both love and care about then idk what to tell you, maybe youre just lame and can't read. best of luck with that.

[feything-n-frothing]

Unicorn Academy headcanons (purely for fun)!

I think it would’ve been so cool if the show gave them specific disciplines + tack when they got their magical personality-based clothing/tack ! I gave her western tack - it’ll be harder to do jumps, but I think being a bit unsafe is fairly in-character.

Sophia edition:

Eyebags from frequently sneaking out at night, all rebellious style… she will refuse to sleep solely to avoid ‘wasting free time’

Likes to be comfortable, rides bareback or western - she’s not very used to English, since she learned western first on her family’s ranch

Plays the guitar. Badly <3

Kind of mean, simply in an uncaring + snappy way. She’s recovering! …she just hasn’t socialized with peers in a while, much less friends

Also realized she liked girls very early on, and is in a bit of denial about actually being bi… so now she’s a (slowly) recovering misandrist! (This is mainly based off her treatment of Rory being especially hostile early on- especially since he’s a fellow rule-breaker, making her frustration with him fascinatingly hypocritical)

Bonus for Wildstar : I think she’d be an Appaloosa (maybe a draft mix?) in horse terms, to account for more obvious star patterns.

And I think she gets along with Sofia because she’s also a bit overly independent, bold, and abrasive

They WILL learn to cooperate! It’s a group effort here.

[overmorrowpine]

42 pages into servant of the shard and. this is what's happening here right

[image ID: the "randy your sticks" meme. it is edited to read:

jarlaxle: hey guys im gonna learn the powers of this cool crystal shard remind me to check on my human in a bit

readers: jax your lieutenants are plotting murder check on your human

jarlaxle: oooo crystal has so much magic 👀

readers: [in large text] JAX YOUR HUMAN

end ID]

@theaviskullguy pointed out this is what was happening there and it's so right

[sukibenders]

Anthony doesn't get enough flack from this fandom if I'm being honest, like most of it is pushed onto other female characters while he gets the "he was struggling," excuse. And while he was struggling, there's definitely validity to that, he also should not have his actions (eg. playing with Kate's feelings, putting her and Edwina in a difficult situation, etc) excused because of that.

[marc--chilton]

hang on i'm once again thinking about house being stupid with love. stacy moved in with him a week after meeting him. that's HUGE change. could you imagine how much he'd have to be obsessing over her to make HIS home THEIR home??? and he still wasn't over her 5+ years later after everything either.

(and like. i wonder if there was ever a moment there for wilson where he's watching house and stacy be so witty and beautiful and in love together and thinking to himself, huh. so this is what that feels like.)

[bl-bracket]

Anyways I know we settled that Pit Babe is the most unhinged BL today, but I can't close the book on talking about unhinged shows without talking about what is probably the most insane show of them all (at least in the ql-adjacent world)

like the first couple episodes is like "oooo spooky museum, cursed artifacts, bit of monster of the week but like with cursed items, is Dome Katha's reincarnated brother?" and then the last episode is "Katha has become the new Christian God. the moon has literally exploded and is going to end the world. Dome is actually one of the 4 horseman of the apocalypse and shot down from the sky to take over a normal guy named Dome's life. Dome isn't Katha's brother, that's Chan, another horseman of the apocalypse, who is from a different universe and also looks the same as Dome because all celestial creatures look like Dome because God made them all look like that across universes and God is Katha but not really. Dome and Chan were both from different universes (there's currently 3) but were all mixed around because Death (who also looks like Dome) killed his God and destroyed his universe so he's been hopping around trying to find a new God also he's possessed the body of Adam (like from the Bible) who had become a mannequin." and they made that jump in like 10 episodes

Truly one of the most unhinged pieces of television ever made I wish they made Katha and Dome kiss so I could include them in this bracket.

[stupid-elf]

Growing up with strict, neurodivergent parents while neurodivergent yourself will have you as an adult acting like you've recently escaped the feywild. What are the tricky rules? Is everything accounted for? How do I ensure I don't accidentally step over the line into Impoliteness. You know the consequences aren't death and dismemberment but you might look down one day and find you've lost your shadow and all of your friends if you're not careful

[rastgeleticaret]

ÜÇGEN BİNANIN MÜTEAHHİDİ BİNASINI BÖYLE SAVUNDU

Merhaba,’Haberin Sosyal Medyası’ Haber Aktüel’e hoş geldin! Türkiye’de dijital haberciliğin benzersiz örneği olan Haber Aktüel’in Youtube kanalındasın. Bu kanalda gündem ile ilgili özel içerikler ve röportajlar bulabilirsin. Tarihten siyasete, bilimden sanata her alanda içerik bulabileceğiniz kanalımıza abone olmayı ve bizi diğer sosyal mecralarda takip etmeyi unutma! Her gün 1 yeni video…

[miraculouslbcnreactions]

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

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

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

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

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

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

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

Character Establishment

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

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

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

Character Growth

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

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

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

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

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

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

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

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

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

Let's Talk About Chloe

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

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

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

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

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

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

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

And this confession from Antibug:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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