#i keep raving about this comic(?) but seriously its literal perfection!!!!!!!!!

[rouuxrouge]

pls. i was just casually scrolling through the akeshu tag and didn't intend to reblog anything BUT THIS IS SO PERFECT

goro akechi hidden talent of being able to locate akiren at any given moment

[aliensunflower-fics]

In Defense of Salt AND Sugar: Aka ML Fandom pls chill out.

So I don’t talk much as those who follow me will say I tend to just stick to myself and my own things. HOWEVER, Ive gotten a lot of asks about why I write both Salt and Sugar for Miraculous Ladybug.

The short answer: Both salt and sugar are valid, fun, intriguing things to read and write and the point of writing is to entertain and be entertained.

The long answer: Salt isn’t inherently someone hating on your fav show and sugar isn't someone necessarily giving it a free pass either. Ya’ll are just dramatic as hell.

The LONGER answer:

I write salt because I LIKE Miraculous Ladybug, BUT the show has not lived up to its potential AT ALL. The show could be so much better and the characters are so flawed or full of holes that occasionally I feel FRUSTRATED and mad!

I hate that Alya a character who I was so excited about, gets shafted ignored, sidelined, or written like a jerk! She could have been this great detective working alongside her friend to unmask the villain, but instead she often comes across as pushy, obsessed with Ladynoir or Adrinette, and so damn easily tricked. Not to mention how when shes not gushing over her ‘ships’ shes pushed to the side and ignored. [or you know... LILA]

I hate that Marinette’s crush makes her do things that are so cringy and awkward i feel ill I hate that she’s constantly the only one making mistakes and ‘learning lessons’ when the show has all these other great characters that could use the spotlight and be the ones learning lessons. I hate that she’s so jealous and that she cant ever seem to catch a break as if the show is punishing her constantly.

I HATE that Adrien is a mary sue, how the writers say hes perfect and treat him as such, I hate that he gets to guilt Marinette into fixing everything and dealing with bullies, I wanted a funny, Ron Stoppable, naive boy who learns about real friendships and grows into a great partner. Instead he gets to be pushy and downright a jerk as Chat Noir ignoring his responsibilities, guilting Ladybug with his feelings, never taking no as an answer. He’s not a good role model for kids.

I hate that Chloe got built up to have a redemption arc several times only for the writers to decide that Chloe a teenage girl who needs some serious therapy [and actual reasonable punishment for her actions] is worse than Gabriel child abuse Agreste. She could have been a great lesson on compassion and growth and dealing with your own pain without hurting others. Instead the writers wrote her off completely.

And dont get me started on how the show treats Nino, Kagami, Luka and the rest of the cast. They may as well be a backdrop for the forced love square that we NEVER get a break from. Seriously I’m a sucker for romance but does it need to be EVERY damn episode?! Can’t we just get some wholesome friendship between everyone including Adrien and Marinette at this point like COME ON.

And i’m not even touching on the white washing, awful lessons on responsibility and forgiveness, awful lessons on well so much other stuff really, the guilt trips, the teacher, the fact that she show could be used to teach kids how to better handle negative emotions and the importance of open communication and not keeping quiet about injustice and/or your feelings but instead decided that the main priority should be a love square that gets force fed to us EVERY SINGLE EPISODE.

My point is the show has FLAWS. That doesn’t mean its the worse show ever and it doesn’t mean its not fun, and has a great premise and characters, and so when I write Salt I write it because i’m frustrated! Im frustrated with the show, with the characters, with the writing and so I vent that out with salt I write those characters as their worst selves because I cant stand how the show has decided to treat them and Im ANGRY and disappointed.

It feels good to write salt and to read it. It’s nice to see characters get called out for bad behavior, its nice to read about Adrien not getting the girl. Its nice to occasionally indulge in salt because it validates that the show is flawed and lets you get out that frustration.

BUT ON THE FLIP SIDE

Miraculous Ladybug is a lovely show. It’s a show that decided to give little girls a FEMALE HERO. And not just as a side kick or background character! No they made her the protagonist! Its so important to me that little girls see good well rounded female characters in media.

And even if the show is clumsy about it they are TRYING to build an expansive lore that tickles the theorist brain. And gets people invested in the world.

The show also made Marinette shy, and awkward, and clumsy something a lot of girls deal with during puberty as growing up can literally make you clumsier as your body adjusts. Having a character who tries to be positive and tries to find solutions who solves things with creativity instead of pure violence. Thats LOVELY for young girls to see.

Growing up I loved and admired Kim Possible, and probably would have loved Marinette, even if the shows not perfect I can admit its trying and I can see why people love it as much as they do! And why they write these fluffy sugary fics its the reason I WRITE fluffy sugary things.

Because even though I am frustrated and angry and disappointed with the show, I still see Alya’s potential and how great she is as representation to little girls who want a black female superhero so I write fluff where Alya’s loyalty, compassion, cleverness and her pursuit of justice are center stage.

I see how Adrien could be better and I want him to be better and I WANT him to be the naive funny comic relief the Ron Stoppable to Marinette’s Kim Possible. I want Adrien to grow and learn and spit in his dad’s face I want him to overcome the abuse and be happy. To show people that neglect and abuse doesn’t mean you will get stuck like that forever, that you can overcome that and be a better kinder person.

I want Nino and Kagami, and Luka and Chloe and the class to grow and get attention and have funny moments I want to laugh and make other people laugh! So I write prompts focused around comedy and shenanigans and where the characters get to be fun and silly and make decisions for themselves!

SO IN CONCLUSION:

I write salt AND sugar. I see the value and merit in both sides of the coin, and I respect how other people see the show. I know its easy to get angry with other people in the fandom who see the show differently then you do but please can we put down the weapons and just BREATHE.

Someone who writes salt might LOVE the same show as you, and they might in fact love it so much that they vent their frustrations in angst and salt and cracky fics. Let them vent about how they wish the show was better, leave their tags alone or block them if you cant stand to see it. But dont attack salt writers for ‘hating on your show’ when they might love it just as much as you do but want a way to vent out their feelings.

On the flip someone who writes sugar might NOT be forgiving the show for its flaws, they might see all the same flaws as you but decide to take that frustration and write fluff and fix it fics and sugar because they want to indulge in a version of their favorite show where everything is just... OK. Where everyone is well written and happy and the character development sticks. Stay out of their tags let them have their sugar, they aren't writing it to hurt you just like you don't write salt to hurt them.

So ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each others tags. Let people write SALT if they feel angry and vengeful and disappointment, let them have their tags, let them explore the dark side of the characters, let them rant and rave and be HURT when the characters they love upset them with their actions. Its not your place to tell them to stop, to tell them their feelings are invalid, to tell them that ‘adrien is sweet sunshine boy how dare you’ or ‘alya would never’ or ‘i hate your marinette leaves dupont au’. Just leave it be, heed the tags, and let it go.

AND ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each other tags. Let people write SUGAR if they just want something to feel happy about. Let them makes coffee shop au’s, let them make fix it fics where everything is just happy without needing 8 pages of backstory for why everything is just happy. Let them squeal and gush and talk about the ship they like and the fluff they see. Its not your place to argue with them that the show is flawed, its not cool to ruin their fun by accusing them of not understanding the flaws, to tell them ‘umm actual this character shouldn’t get to be happy’ or ‘wow this is so shallow’. Just leave it be, heed the tags, and let it go.

PS: Now with that said and done. I do have one final message for everyone - If you write/enjoy pedophilia, if you sexualize KIDS. Then get the fuck out of fandom spaces, stop fucking following me, and do everyone salt and sugar a favor by LEAVING. Your pedophilia and child sexualization aint wanted, aint ok, and I will fight you.

PSS: IF YOU HATE WHAT IVE SAID ABOUT SUGAR AND SALT FINE OK I RESPECT YOU REGARDLESS. ENJOY THE SHOW, STAY CLASSY, DONT HURT PEOPLE BECAUSE THEY HAVE A DIFFERENT OPINION.

[dukeofriven]

[Note: this post originally appeared in this thread. Owning to Tumblr’s inability to update reblogs with edits because it is a hellsite programmed by a secretive cell of former Stasi operatives to avenge the fall of East Germany, it has thus been re-edited and reformatted here for your reading pleasure.] JK Rowling’s wizards are the most useless, lazy, incapable dumbfucks in the history of fiction. The average Muggle? You take away their technology and they would be able to complete the basic tasks of feeding and clothing themselves without shitting on the floor. If a wizard ever lost their magic in Harry Potter, though, they would die. They’d be dead in three days. They’re garbage and I hate that I’ve come to hate Harry Potter - a series I once loved - because an author inexplicably hailed for her world-building is daily revealed to be appallingly bad at it. I realize this is a really dumb thing to be this angry about but I’ve been told for years what a great world-builder J.K. Rowling is, and that was not even true when the books were coming out. The Time Turner ruined all of Harry Potter forever, not because it offers easy time travel you can hold in your hand (although it does), not because you ask ‘why don’t they just use the time turner’ with every subsequent scenario forever (although you do), but because it was an enormous, flashing red light warning everyone that the series was going to attempt to make the transition from Fairy Tale Logic to Serious Fiction logic and fail. Badly. Really, really badly. I still think Harry Potter & The Philosopher’s Stone is an almost perfect book: a distillation of decades of boarding school genre fiction combined with magic, friendship, and wonder. It is a book that owes as much to Enid Blyton and L.M. Boston as it does to C.S. Lewis or T.H. White and other authors with two first initials. Its sense of place is magisterial, from the frumpy, soul-crushing suburban sadness of Privet Drive to the ephemeral curio-shop wonderland of Diagon Alley to Hogwarts itself, a bastion of astonishment, homeliness, and delight. What it isn’t is the sort of framework on which you can support the horror that is the torture and murder of Charity Burbage in front of her colleague Severus Snape, who could not rescue her because he could not break his deep cover as a spy against Wizard Hitler 2. Long-running series can experience changes of tone and complexity. This is neither something laudable nor worth reviling; it’s a neutral phenomenon. Sometimes series do it well: Susan Cooper’s The Dark Is Rising and Terry Pratchett’s Discworld are both series that by-and-large end with books focused on far more complex issues than their earlier entries. TV series do this too: contrast the early episodes of Steven Universe or Adventure Time with episodes from later seasons. With Adventure Time, for example, trying jumping from the pilot to Remember You and see how hard you get tonal whiplash) Lois McMaster Bujold sublime space opera The Vorkosigan Saga doesn’t just change tones but also genre: space adventure, murder mystery, political thriller, goofy regency romance, comedy of errors, heist movie, schizoid identity crisis - on and on. The latest entry in the series has almost no plot to speak of, but is instead a musing on age, gender roles, grieving the loss of a lover, and the hope of new life. Some series, however, manage the transition poorly, largely because the initial tone cannot be harmonized with the later tone (Mass Effect jumps immediately to mind). But Harry Potter has more than just a problem of its tone getting darker: its trying to have darker events fit in the same world in which people can walk around with names like ‘Mundungus,’ the Hogwarts school song can be a nonsense poem, and the Philosopher’s Stone was defended with a series of video game puzzles. In a world in which the villain openly tortures somebody to death, the Philosopher’s Stone shouldn’t have any whimisical bullshit about its magical defences: it should have trip mines in the floor and an enchanted statue with a gun, because Voldermort isn’t a guy you confound with drinking potions and flying keys. You should just kill him. The charming fairy world of wonder of HP & The Philosopher’s Stone has room for a love potion. The later books, in which it is revealed that Voldemort was essentially born from rape, is not place where Ron Weasley can hand-out a book to Harry called Twelve Fail-Safe Ways to Charm Witches without seeming like a predator in the making. The cradle that is The Philosopher’s Stone cannot hold a beastly baby like Deathly Hallows any more than Grindlewald pontificating about the superiority of wizards can sit comfortably in a universe in which wizards took until the 18th century to accept the outhouse! Not that fascist ravings are inherently logical; but even non-fascists in Harry Potter never act like wizards are anything other than 100% better than muggles at all times. They can’t, because if the series were ever to do that it would have to acknowledge that the two worlds are different: neither better, just different. Instead - well, as Ron once bitched, magic makes coffee perfect every time, so it’s not clear how muggles stand being alive and don’t just roll-over and die from the hellacious half-life that is living with imperfect coffee. This has nothing to do with irony, a suggestion that ‘oh Grindewald talks a big game about wizardly superiority but wizards didn’t use toilets and cal themselves goofy names like Flumpus MacFludgeon: Rowling is using dramatic ironic to lampshade how wizard supremacy lacks self-awareness. No: this is about a world that is silly being asked to host a genocidal dictator and his crimes. It’s like those tedious ‘grimdark’ AUs that always show up in bad fanfiction by authors attempting to be serious: what if the Sesame Street gang had to deal with ICE, what if Po started haemoraging while hanging-out with Laa-Laa, what if Peppa Pig learned that she was adopted and her real parents were brutally murdered as part of gang war because they were heroin dealers and so on. (The best skewering of this edgelord comedy is still probably either Andrew Hussie’s Muppet Babies/Saw comic or any encounters the Shortpacked staff ever had with the Transformers: Buckets of Blood guy.) In Harry Potter, Rowling built a wonderful little fantasy world that ran happily on the logic of fairy tales and fairy stories, and then decided she was never going to be taken seriously as an author unless she introduced Hitler to the equation. And it never works for her. It’s not like it couldn’t have worked. The Lord of the Rings is famously a very different book from The Hobbit. It did, in fact, introduce Hitler into a little fantasy world but Tolkien made it work by abandoning huge portions of the Hobbit’s tone, style, and structure: he wrote a completely different book.  Frodo isn’t scarfing-down Bertie Bott’s Every Flavoured Beans on the slopes of  Mount Doom. The moment, say, Cedric Diggory lay dead in Harry’s arms, we needed to never meet Mundungus Fletcher ever again, or Weasley’s Gooftacular Prank Nonsense, or Ron getting Harry a book about love spells. All the very least that needed to go away, at least until the very end, because Rowling is not an author with the skill to keep the silly and the sublime on the same page. That’s fine in and of itself: all artistic people have strengths and weakness, nobody is skilled at every element of creation. J.M. Barrie was very good at writing a book about an eternal child, but a bit crap at writing a biography about his mother. Arthur Sullivan spent his life quietly seething no one wanted to listen to Ivanhoe instead of The Mikado. There’s a reason Jerry Lewis never released The Day the Clown Cried.  Virginia Wolfe is a great writer, but that doesn’t mean she would have written a great run on She-Hulk. [Although now that I’ve said it I can’t think of anything I want to read more.] There’s a great bit in the Lord of Rings after the Shire has been scoured of Saruman where the Hobbits essentially open-up their larders and allow people to have fun again; there’s also a nice bit slightly earlier where Great King Aragorn puts on his old Strider clothes just so he can be his D&D character again: when series change tone, unless you’re really good at walking on a knife’s edge, the quieter, gentler, lighter world isn’t gone forever, but it does have to go away for a while: which means its time to tamp-down on the people with silly names and personalities - like Slughorn, who slips into book six like the second-coming of the vain and silly Lockhart, even though that’s the book where Dumbledore dies.

Rowling keeps trying to makes her old tone fit with her new world without having to pull a Tolkien and actually write differently, which produces moment after moment of tonal whiplash in which the latest Potter-related movie literally involves referencing the holocaust but she also drops some fun trivia about wizards shitting on the floor like animals. (You could describe the entirety of the first Fantastic Beasts film as Tonal Whiplash: The Motion Picture. I’d say that’s an essay for another day but I do not want to have to watch that movie again.)

It needs to be said that a primary reason these tone shifts ‘don’t work’ for Harry Potter is that the logic of a fairy tale is different than the logic of a mundane story. The logic of a fairy tale tends to be self contained: it doesn’t have a smart ass running around asking questions like ‘why’ because there is no why; a thing is the way it is because it is the way it is. Fairies steal babies on the third Sunday of every month, and nobody in the story asks ‘well what about in countries that use different calendars, and what about the shift from Julian to the Gregorian calendar that skipped eleven days?’ because such a pedantic question has no substance in a fairy-tale world. The Clever Child might question what the fairies need with babies, but she’s not about to break-down the week-to-week investment metrics on the Fairyland Infant Exchange. It’s not that one cannot critique or bring critical thinking to fairy stories; it’s that in a fairy story you don’t ask how the sewer system works because it’s not pertinent to what the story is trying to convey. It’s being the guy at the book club who is mad nobody wants to discuss his theories on the music of Rush: its not that the theories are bad, it’s that in this time and place they are of limited relevance. Harry Potter, however, does not belong to to the world of fairy stories, but to the legacy of Tolkienesque fantasy - the world of

  In The Hobbit nobody would ever ask if Hobbiton had sewers - it’s not important, and if you ask those kind of questions expecting there to be a serious answer of grave import you’re being a twit. Lord of the Rings, though? Not only is it a valid question, but Tolkien probably wrote a paper explaining the etymology of the Westron word for ‘sewer’ and how sewers were first invented by Shítlívær the Noldor as a way of helping the Blessed Isles cope with all the crap that tumbled out of Fëanor’s mouth.

The world of The Hobbit is one you could enter and expect to quickly find yourself on an adventure. The world of The Lord of The Rings is one you could enter, walk-about, and study without anyone ever exepecting you to solve some sort of regionally-disturbing social problem: in short, it wants you to be invested in the existence of its world in a different way than The Hobbit. Even then, although The Lord of the Rings is more grounded than The Hobbit, it is not so grounded that it doesn’t leave room for mystery, and questions that refute Wittgenstein’s assertion that all questions must be answerable. Tolkien loved to create complex worlds, but there was stuff he knew wasn’t worth elaborating on. It’s really his fans and authorial heirs who developed the somewhat worrying belief that a good worldbuilder has to have an answer to literally every question or else didn’t think their world through. (This has killed more potentially good books than bad cover art ever has.)

The Lord of the Rings leaves room for The Undiscovered Country. Harry Potter wants too… but can’t. Firstly, Rowling obviously understands the need for what we might call poetic mystery - like the gateway in the somewhat unsubtly name Department of Mysteries - but she also wants you to know how wizards pooped three hundred years ago. You get the feeling she knows exactly how and why that gate works, and what it is, but she withheld the knowledge because she likes mystery’s aesthetic more than she ascribes to any idea that an author might have lacunæ in the knowledge of their own work. That is, she would never put something into her work that she didn’t have an answer for - for her there is no undiscovered country that exists beyond the knowledge of even the author; she is an omniscient deity. Not for her is C.S. Lewis’ insistence that for her characters: All their life in this world and all their adventures had only been the cover and the title page: now at last they were beginning Chapter One of the Great Story which no one on earth has read: which goes on for ever: in which every chapter is better than the one before. Rowling knows exactly what happens to every one of them from the moment they were born to the moment the rot in the ground and the day-to-day schedules of their lives in heaven. Secondly - and far more of an issue - is that Harry Potter becomes a world that invites you to pick up each part of its structure and think about it, because the author has - with loving care - built that entire world for you to interact with. A place for everything, and everything its place. Except JK Rowling is a lazy thinker who never, ever considers the consequences of anything she says. Nagini is actually an Asian woman cursed to live as a snake, wizards used to magically disappear their shit from wherever they just stood and shat it out, Hermione Granger can have a time travel device to attended a bunch of classes but Harry can’t grab one off a nearby shelf and go back fifteen minutes and save his godfather, and nor a few years later can the Minister for Magic’s protection detail keep them on hand to go back half an hour and tell their past selves ‘Hey Voldemort is about to walk in here and kill y’all thought you ought to know.’ No author can work-out every aspect of every element in their works - that’s impossible, and why ARGs are solved by the internet hivemind in half a day even though they took a far smaller group of minds months to devise. But Rowling is intellectually lazy - she adds the holocaust to her Magic Fun Land without sparing a single moment to think that idea through. She then gets defensive when confronted by the suggestion that her worldbuilding might have been shallow. Hey your American wizard houses seem a bit racist also America doesn’t really use the house system in its schools - and her response was to lash out and not listen.  Rowling tried to move Potter from a fairy logic world with its own rules into our world with our rules and our history but she doesn’t know our history very well, or even our rules, so she tells us wizards shat on the floor until the 18th century while the rest of us sit around going ‘but humans have never done that as social groups - even in horrible slums and facility-free prison cells humans create a designated place for taking a shit even if it’s just ‘that corner over there.’ We don’t just drop pants and go whenever!” This is because, as a worldbuilder, J.K. Rowling is actually kind of rubbish.