#it introduces all the main characters and relationships and backstories

[freaky-flawless]

I'm like halfway through the first Ghoulfriends book and main three are so annoying. I'm hoping it's like a character flaw thing, where they'll recognize it and get better over the course of the series, but oof. Gitty did these ghouls so wrong.

They're beefing with Cleo for no reason...Venus flipped out on her out of nowhere (in the middle of class, unprovoked!!) for using paper bags and then sprayed her with hypno pollen, meanwhile Rochelle, who is in her own relationship, is hardcore flirting with her man!!! I wish the author had been more original when it came to giving them a "frenemy" there are so many options aside from Cleo! (Honestly Operetta would have been an interesting choice, but whatever)

Robecca's characterization is the most tolerable, but she's incredibly rambly, and the author decided to give her a bad sense of time for...reasons. And despite being British, she uses oddly Southern phrases while talking...its super strange. With Venus and Rochelle, I can see where her mind went with writing their characters, but Robecca honestly seems so opposite to her canon personality.

And her backstory was kinda mangled too. It's acknowledged that she was disassembled, and recently reassembled, and even that she previously lived with Mrs. Kindergrubber, but she's treated like a brand new student. No acknowledgement that it was Ghoulia who put her back together!

I understand giving the characters a fresh take, but it would have been pretty simple to integrate the actual canon. Robecca and Rochelle were introduced in the same movie, they were new to Monster High, just not new to all of the characters.

[luna-azzurra]

Exploring Character Backstory

1. Start with the essentials: Begin by outlining the basic information about your character's past, such as their family background, upbringing, education, and early experiences. Consider their cultural, social, and economic background, as these factors can shape their worldview and values.

2. Identify key events and milestones: Determine significant events or milestones in your character's life that have had a profound impact on them. These could include positive or negative experiences, such as the loss of a loved one, a major achievement, a traumatic incident, or a life-changing decision. These events help shape your character's personality, fears, and aspirations.

3. Examine formative relationships: Explore the relationships your character has had with their family, friends, mentors, or romantic partners. How have these relationships influenced them? What role models or influences have shaped their values, beliefs, and behavior? Relationships can provide insight into your character's vulnerabilities, strengths, and emotional attachments.

4. Dig into their beliefs and values: Understand what your character believes in and values. Examine their moral compass, political views, religious beliefs, or philosophical outlook. Consider how their beliefs might clash or align with the conflicts they encounter in the story. This will create depth and authenticity in their character development.

5. Uncover secrets and hidden aspects: Delve into your character's secrets, hidden desires, or aspects of their past that they prefer to keep hidden. Secrets can create internal conflicts, fuel character growth, and add intrigue to the story. They can also reveal vulnerabilities or flaws that make your character more relatable and complex.

6. Consider the impact of societal factors: Explore how societal factors such as gender, race, class, or historical context have influenced your character's experiences and identity. These factors can shape their struggles, opportunities, and perspectives. Understanding the societal context in which your character exists adds layers of depth to their backstory.

7. Connect the backstory to the main story: Once you have explored the character's backstory, identify how it relates to the main story. Determine how their past experiences, relationships, or traumas influence their present motivations, conflicts, and goals. This connection will ensure that the backstory serves a purpose in the narrative and contributes to the character's growth.

8. Use backstory selectively: While backstory is essential for understanding your character, avoid excessive exposition or information dumping. Introduce elements of the backstory gradually, through dialogue, memories, or subtle hints. This helps maintain reader interest and allows the character's past to unfold organically throughout the story.

Remember, not all aspects of the character's backstory need to be explicitly mentioned in the narrative. It's important to choose and reveal elements that have the most significant impact on the character's present circumstances and development.

[circuitcircus]

in defense of kabumisu……..

addressing things I see people say about why kabru being shipped w mithrun is ‘bad’ or why their canon relationship ‘doesn’t mean anything’ while also clearing up misconceptions of the characters some fans have

listen it keeps popping up and I just gotta do this or my brain will melt (if you don’t see it around then god I wish that were me) there’s an age gap!- erm there’s also an age gap in farcille (ily), the most popular ship in the series...also chilchuck looks like a kid but a lot of fans recognize him as a dilf because of his relative age, so there should be no age gap discourse among adult characters because it feels so conditional tbh

kabru taking care of mithrun is racist!- marcille likes to take care of others as well. is that sexist, or just an aspect of her character?

kabru isn’t treated like a servant, waiting on mithrun hand and foot…I mean he gives mithrun a foot massage but no one told him to do all that lmfao

he's also not the only one to care for mithrun. pattadol is shown to worry for him and milsril was the one to start taking care mithrun in the first place after he…...y’know. speaking of which-

they probably met when kabru was a kid!- neither of them showed signs of recognizing each other the entire time mithrun was introduced nor when they were together. and im pretty sure KABRU of all people would show some kind of recognition if they'd met before. it's kabru!!! the people person!!! mr. "i-noted-down-50+-characters-in-this-dude's-backstory-for-fun-and-actually-enjoy-social-gatherings"

you would think some kind of memory would come back to him especially after hearing mithrun’s backstory if milsril had even told kabru about him as a kid. but nope. it’s just fan speculation unless there's a side comic suggesting otherwise that i haven't seen

mithrun doesn't care about kabru, his shapeshift double looked like shit!- it's obviously because of mithrun's (then) lack of desires that it looked like that, but they really grow on each other

i think it's safe to assume it'd look more like kabru after they spent so much time together (also laios can barely even remember kabru's name..also saw his face multiple times and didn’t recognize him when they talked for the first time)

mithrun is racist!- he’s actually the least likely character to be racist since he lost his desires and that includes a desire for superiority over others. he even calls his past self out on that part of himself. the other elves in that side comic were being just as racist to shorter lived races but just didn’t use ‘outdated slurs’

(unfortunately literally every main character in dunmeshi is at least a lil prejudiced, but I believe it’s worldbuilding and a sign of the times rather than a reason ryoko kui is giving to hate each character)

taking care of others is a pain in the ass!- saying this as a reason kabru and mithrun shouldn't be together is basically saying disabled people shouldn't be allowed to have romantic relationships because they're a "burden"...if someone is actually willing to put in the work, then let them be.

that's not even all of their relationship, mithrun is the fighter of their duo and kabru would've been killed by the shapeshifter or something if he'd fallen down the hole on his own since he sucks at fighting monsters. mithrun helps collect ingredients for cooking every time, too (barometz fruits and griffin egg). he pulls his weight and then some!! i feel like people forget that part of mithrun a lot somehow.

+senshi literally cooks for everyone all time. it's kind of an important aspect of the narrative.

+also, while it is a popular fan thing I see around that kabru handfeeds mithrun, he literally never does lol this is mithrun using his own hands to eat:

also here we have him washing his own body

just saying because people like to treat mithrun like a baby even though the narrative respects him as a capable adult who also has special needs because of an accident. he’s captain for a reason

kabru hates taking care of mithrun!- not exactly, he was initially surprised and put off but got used to it quickly. i’m sure he’s grateful for all the times mithrun saved him from a monster and teleported them out of danger as well

he even starts doing “unnecessary” things for mithrun’s comfort and safety like when mithrun pushes himself too hard fighting, even after his mission to take care of him was complete when the canaries came back

here is even kabru resting while mithrun keeps watch (mithrun let him sleep for 5 hours before waking him up from the nightmare earlier, too):

there's nothing more to their relationship!- they actually have had a very tight and consistent dynamic since they met and they incite the most change within each other by the end. kabru is the one who inspires mithrun to create new desires so he doesn't waste away, and mithrun is the first person we see kabru being genuine with and it leads him to be more honest with others by the end instead of tiptoeing around everyone all the time (that mask was also the reason some ppl initially disliked kabru…)

kabru’s relationship with mithrun is honestly so important for his character and vice versa, but it’s often disregarded because of one over exaggerated aspect of it (an aspect that isn’t even the first way they interact with each other) or because people want to just straight up ignore it for some reason 🥲🥲

kui dedicates many panels to them that don't particularly serve the narrative as a whole in order to demonstrate this and i think that's pretty significant

you're taking this too seriously!- as if i'm the first person in the world to be crazy about a ship or the characters 😭 i love analyzing text and it's upsetting to see them mischaracterized when kui lays out the characters so clearly and deliberately

also they end up touching each other like all the time and have the kind of canon validation most ppl can only dream of lol i feel so insane look at this:

and this is just when they're first getting to know each other cuz there's a fuckload more

kinda hard to explain how i don't actually need them to get married or whatever but i'd die on this hill for them and i enjoy their dynamic immensely

haha you thought you were reading ship discourse but it was actually a character analysis 🤪🤪🤪

also don’t somehow take this to mean I think anyone has to ship them, I just need everyone to understand these accusations kind of don’t make sense especially when they can also apply to other pairs or characters

bonus kabru just looking at mithrun:

[literaryvein-reblogs]

A 3-Part Book Editing Checklist

PART 1: The "Big Picture"

Identify and fix macro problems relating to plot, character development, narrative arc, and theme.

THEME & IDEA

Is a compelling dramatic question present throughout the book?

Is there a clear theme? Is it well-developed and engaging?

Can you recap your story or argument in this single sentence? “[Character] must [do something] to achieve [goal] or [reason why the audience should care]”

Is there a clear central conflict? Is it resolved by the end of the book?

STRUCTURE Fiction & Memoir; Nonfiction

Fiction & Memoir

Is there a strong beginning, middle, end?

Does your exposition effectively set the story? Introduce the cast of characters? Impart backstory?

Is your rising action triggered by a compelling inciting incident? Does it escalate the conflict and raise the tension?

Is the pace of each act in the narrative arc appropriate?

Does the plot maintain forward movement in each chapter? Do subplots support that momentum?

Are all major plot threads and subplots resolved by the denouement?

Do the plot points sync with the narrative arc and theme that you want to convey?

Do the plot twists make sense? Are there plot holes in the story?

Nonfiction

Does the first chapter of your book introduce your central question and explain why it’s important to answer?

Does your exposition adequately introduce readers to your topic? Does it provide enough context for them to understand your main argument?

Does each chapter or section build on the information that comes beforehand?

Is the length and pace of each chapter appropriate?

Does each chapter contain an appropriate mixture of fact and anecdote?

Is your structure engaging and easy to follow?

Does your book contain any extra information that distracts or detracts from the main argument?

Are there any holes or gaps in your argument?

CHARACTERS Protagonist; Antagonist; Supporting Cast; Setting

Protagonist

Does the protagonist have strengths and weaknesses? Do these interact with the story appropriately?

Does the protagonist grow and change?

Does the protagonist have defining mannerisms? Clear character traits?

Does the protagonist have external and internal goals? Are they visible throughout the story?

Does the protagonist act believably in each scene? Is the protagonist’s behavior consistent? Chart the protagonist’s character arc over the course of the story. Is it clearly and compellingly conveyed in the story?

Antagonist

Does the antagonist have story motivation?

Does the antagonist have a believable backstory?

Is the relationship between the protagonist and the antagonist clearly defined?

Supporting Cast

Is the supporting cast fleshed out?

Do the secondary characters have a reason to be there? Do they:

Reveal key details?

Advance the plot?

Motivate the protagonist?

Help define the setting?

Are interactions between the secondary character and the protagonist believable and well-placed?

Do the secondary characters have distinguishing characteristics or mannerisms?

Setting

Does the setting make sense for the purposes of the story? Does it matter to the plot?

Are descriptions of the setting rendered effectively and appropriately?

Does each scene convey a clear sense of place and time?

Is the worldbuilding fully realized? Logically consistent?

Fact-check each scene in relation to the setting. Are objects, props, mannerisms, and behaviors native to the time and place of the story?

PART 2: The "Scene" Level

Strengthen specific elements within individual scenes

SCENES & CHAPTERS

Is the opening scene effective?

Does it start in the right place?

Does it have a hook? Is the hook immediately gripping?

Are the scenes appropriately paced to grab the readers’ attention? Are the chapter lengths effective?

Does each scene serve a purpose in the story?

Is each scene oriented in terms of time and place?

Are scene transitions smooth?

DIALOGUE

Does the dialogue serve a purpose in each scene? Does it:

Provide information?

Advance the plot?

Help the pace?

Does each character have a distinct voice?

Is the dialogue believable for the time and place of the story? Is the word choice reflective of the time period?

Does the dialogue use action beats to control the pace of the scene?

COMPOSITION Voice & Point of View; Prose

Voice & Point of View

Is the narrator’s voice consistent?

Is the voice appropriate given the context of the book and its story or argument?

Is foreshadowing used effectively, if applicable? Metaphors? Similes?

Is the viewpoint character always clear? Is it consistent between scenes?

Is the point of view suitable for each scene? Is there a better alternative for a viewpoint character in any given scene?

Prose

Is the backstory of the world or characters efficiently woven into the story?

Does each sentence contribute something to the story?

Do you “show, don’t tell” with your dialogue, characters, and setting?

QUOTES & REFERENCES

Are quotes and references used to support the argument?

Are all of your sources reliable?

Do quotes help aid the narrative progression, or do they interrupt it?

Have you paraphrased where possible?

Are there appropriate transitions before and after references?

Are all quotations accurate?

Have you chosen a citation style?

Have you cited all references according to that style?

PART 3: The "Line" Edit

Ensure the text is objectively correct. This covers everything from typos and grammar to continuity and syntax.

PUNCTUATION & DIALOGUE

Limit the use of adverbs in your dialogue tags. (Show, don’t tell!)

✗ “Why did you eat my turkey sandwich?” said Harry angrily. ✓ Harry upended the table. “Why did you eat my turkey sandwich?”

Check for the use of other dialogue tags and replace them with “said” and “asked,” unless other emphasis is absolutely necessary.

✗ “Did you just stab me with this thimble?” queried Amber. ✓ “Did you just stab me with this thimble?” asked Amber.

Check that all of the dialogue is formatted correctly.

✗ “I love you.” Said Pam. ✓ “I love you,” said Pam.

VOICE

Limit the use of weak verbs and adverbs in general.

✗ Leonard ran quickly to school. ✓ Leonard sprinted to school.

Replace all “hidden” verbs.

✗ Offer an explanation ✓ Explain

Check for the use of passive voice and replace with active voice, whenever appropriate.

✗ The ball was kicked. ✓ She kicked the ball.

Use “telling” words such as “felt,” “saw,” “knew,” and “seemed” sparingly.

✗ His head felt awful. ✓ His head throbbed.

LANGUAGE

Delete vague and subjective words.

✗ Could, might, maybe, more, poor, good, excellent, bad, some, multiple, really, literally, suddenly, simply, just, a little, almost, etc

Delete all instances of cliches in the text.

✗ It was a dark and stormy night.

Check for excessive repetition in the text.

✗ Go to [do something]

Check for instances of overly complicated language.

✗ In close proximity ✓ Near

Source ⚜ More: Writing Worksheets & Templates Writing References: Plot ⚜ Character ⚜ Worldbuilding

More Notes: On Editing

[rockrosethistle]

Workin Boys was literally the only thing that saved Hidgens from being flanderized beyond recognition

(Spoilers for Workin' Boys)

So what I think a lot of people don't give much thought to is how much Professor Hidgens as a character has evolved since tgwdlm, essentially becoming a parody of himself.

Think of Hidgens as a character. What are his defining traits?

Did you think about how he is a doomsday prepper who has been stockpiling supplies for 20 years? Because that's how he's introduced in Guy.

Did you try think about how he has a weird relationship with his Alexa? Or did we forget about that?

In fact, for the majority of TGWDLM, Hidgens' main character trait is that he says weird shit with a Doc Brown voice.

The whole concept of Workin Boys isn't even introduced until the last half hour of the show. That's where he reveals his real motivation: to live out the musical he wrote as a young man.

Actually, no, that's not right. Because his motivation was world peace, and Workin Boy's was just a convenient means to that end.

I won't disregard the fact that Hidgens clearly has an emotional connection to the show, but in Guy, it serves as a punchline rather than a driving force.

So now we have this lovely, morally-grey, multi-layered character that we can work with.

By the time we get to Time Bastard, the fandom is expecting a show stopping number reference, so of course we get that.

But at this point, Hidge is still that multi-layered character. Sure, showstopping number gets a callback, but we also get a callback to his strange relationship with robots. They make up an equal part of him as a character.

By the time we get to Honey Queen, we have lost several aspects of Hidgens altogether. He is no longer a doomsday-believing recluse. He is now active in the community and his only motivation is to get his show funded. He brings it up at every chance he gets, and his loyalties lie with whoever is more likely to make Workin Boys happen.

So how the hell do we come back from this?

Well, at first it seems like we're not going to. Workin' Boys (the short film) comes out, and it looks like we're leaning even harder into this aspect of his personality than before. But then we get hit with something we're not expecting: Hidge gets the Ted Spankoffski treatment.

I'm referring to Ted's backstory in Time Bastard, where we learn that all of his actions actually stem from a single, traumatic moment, which in his eyes forced him to alter his behaviour, so as to not go through the same trauma again.

Can you see where I'm going with this?

The backstory we get from Hidgens certainly puts things in perspective. No, it's not enough to explain why his behaviour has been so laser-focused on this one show, but it's a start.

Then comes the part that changes everything.

It's left up to interpretation whether these ghosts Hidge is seeing are actually there, or just hallucinations, but that doesn't really matter.

Hidgens had been through a horrible experience, so traumatizing that he is still literally being haunted by it decades later. For one reason or another, he believes that the only way he can relieve himself of these ghosts is by bringing honor to the loved ones he's lost and telling their stories.

This reveal recontextualizes everything we know about Hidgens as a character. Suddenly, this isn't a story about some guy who just really wants to put on his musical, this is a story about guilt. Of course it would be the driving factor in his life. Look at him apologizing to his boys. He feels like he is slandering their memories with everything that goes wrong for the show.

This is supported even more with the ending.

Henry Hidgens dies with a smile on his face, believing he's finally achieved his goal: to tell the real story of what happened that night.

It finally makes sense as to why we've lost those parts of him--we've retconned the character by revealing that all that simplification of his goals and traits wasn't flanderization at all, but a steady downward spiral of grief over his loved ones. It wasn't Hidgens getting a little too into being a playwrite, it was him descending into madness caused by the inability to please the part of himself (or the literal ghosts, if that's how you interpret it) that believes he's not doing enough.

And if not for Workin' Boys, he would have remained that one-dimensional character.

[pixelsandpins]

Let's say you see the new Venom movie this weekend. Then you want to read the comics. Reading guides can be very overwhelming. So as a Venomaniac, let me give a broader approach discussing main storylines, what's worth your time, and where I think you should/could start.

80s-90s: Origin, First Villain Run, Transition to Hero

The Alien Suit Saga begins in Amazing Spider-Man #252 (1984) after Peter finds the goo in Secret Wars #8. Then more specific Eddie/Venom shenanigans start in 298-300. Venom's whole origin story can be found in a trade paperback (aka a TPB) called Spiderman: Birth of Venom which also includes issues from other series to fill out the story. Venom continues to be a villain in Spider-Man for awhile, so most of his story up through 1993 is found across Amazing Spider-Man and Web of Spider-Man. There're couple of collections that cover parts of this, but the most complete is Spider-Man Vs Venom. From this era you can also get the trade paperback called Carnage: Born in Blood which covers the arrival and birth of Carnage. A more in depth reading guide will give you these individual issues, and you can find them all in Marvel Unlimited or other online source.

(I'm having a hard time finding what I feel is the optimal link, but these have the information, at least).

Birth of Venom individual issues.

Birth of Carnage individual issues.

These are all very 80s and 90s comics, however, so they require a little bit of fortitude if you've never read comics before. This theme will continue up through Venom's solo work through the 90s.

Venom's solo stuff begins with Venom: Lethal Protector in 1993 (available as a TPB). This is the arc where Eddie moves from villain to hero. It also introduces the first symbiote spawn and a few other major lore elements.

Up through the rest of the decade there are A LOT of 3-4 issue mini-runs starting with Venom: Funeral Pyre. You can knock each of them out in an evening, and they provide some details about character and story. You absolutely don't have to read most. There are some key ones, though, where the lore carries through:

Venom: The Madness brings value not in lore, but in narrative. It shows the way Eddie and the other physiologically affect each other. It's also just really good.

Venom: Separation Anxiety separates Eddie and the symbiote, exploring the changes in their relationship and deals with more spawn. This one is a major influence on the first movie.

Carnage: Unleashed gives more development to Carnage and sets a story beat up for later.

Go back to Spider-Man for Planet of the Symbiotes. This expands on symbiote lore and is a key element of Eddie and the others relationship. You can read it as individual issues or as a TPB. This one has a major influence on Venom 1 and 3.

Venom: Sinner Takes All introduces She-Venom, traumatizes Anne, and sets some later lore hooks for story.

Venom: The Hunger expands on the brain eating/addiction and introduces the chocolate substitute. They also hold hands at the movies, and I think that's super important, personally.

Venom: Seed of Darkness is one of the lesser priority ones but does provide some interesting Eddie backstory.

Spider-Man: The Venom Agenda sets up some new story and lore beats for the Venom/Spider-Man relationship.

Venom: Finale the symbiote temporarily dies, and it sets up narrative for future comics.

If you've never read comics before, this whole era might be a difficult starting place. Mostly because the ethos of comics have changed, and it can be harder to connect with material from the 80s and 90s. It's not bad, it's just different. It's kind of essential narrative and lore establishment, however. So either accept the challenge or come back to it later and accept you'll have gaps in the lore. If you've read pre-2000s comics before, you'll be fine. Read from the beginning. It's a riot.

Venomnibus 1 and 2 covers this era. The first bout of Epic Collections also end here.

1999-2010

There's a bit of a tricky transition here over the change in millennia as Venom goes back to being a villain for a bit, joining the Sinister Six. Because of this most of the story moves back to Spider-Man. The problem is: there's major story shit introduced, and there isn't a collected edition that covers this era properly. You'll require a reading guide or accept the lore gap.

Peter Parker: Spider-Man #9-10 covers the return of the symbiote to Eddie.

Amazing Spider-Man #19 features the death of Anne Weying, Eddie's ex-wife and, at one time, temporary host.

In 2003 they start expanding the Venom story again, in earnest, but he's still an antagonist. The first solo run here is Venom Vol 1 by Daniel Way. This is collected into 4-5 trades, also appears in Venomnibus 3, and consists of 4 arcs. This one never got narratively resolved, but Wolverine is there. So that's something. This is probably the most skippable of the "big series" however you could use this as a starting place. It's early enough that you won't be missing the second phase of lore, and it's a more "modern" story. However, it's not the strongest of the runs, so it might set the wrong expectations.

Spectacular Spider-Man: The Hunger adds an element of maliciousness to Venom's motivations. It's moderately essential narrative but very divisive.

Venom/Carnage is pretty good, introduces Toxin, and transitions us into the next narrative beat.

The Symbiote and Eddie Part Company, Scorpion!Venom Begins

Here is where Venom becomes a proper villain again, only...he's a protagonist? A PROTAGONIST VILLAIN, YOU SAY?

Marvel Knights: Spider-Man #5-12 are often left off reading guides, but they transition the symbiote from Eddie to Angelo Fortunato to Mac Gargan.

Gargan, as Venom, then joins the Thunderbolts for a while. This is in Thunderbolts #110-127 and continues in Dark Avengers

Dark Reign: Sinister Spider-Man is the story of Mac Gargan fuckin' around as Venom/Dark Spider-Man.

I'm of the opinion you can pretty much skip the entire Gargan era, and you won't lose much going forward. But it's also...kind of a fun read? And it does expand on what the influence the symbiote has on their host looks like.

Venomnibus 3 also collects much of this, but not all. Marvel Knights, Thunderbolts, Dark Avengers, and Dark Reign are all available as TPS/Omnis

Also skip Venom: Dark Origin, for now. It sort of rewrites Eddie in a way that didn't really stick going forward.

Right at the end here, Carnage gets a few more series and Eddie as Anti-Venom is first introduced in Spider-Man. Anti-Venom barely shows up, at first, but he persists going forward. There's no dedicated collection to the era, but the primary comics are collected in Spider-Man: New Ways to Die, and Anti-Venom: New Ways to Live.

2010->today

Flash Thompson/Agent Venom Begins

Here, the government strips the other from Mac and gives it to military vet Flash Thompson

If you start here you're coming in right at the start of the next major phase of lore for Venom that covers all the Cool Space Shit. It's a fan favorite and an objectively well-written run, but it's also thematically and narratively a bit of a turn from all the others. It will also be a really really long time before you see Eddie as Venom. So just keep that in mind going forward.

After a bit of Spider-Man prologue, this kicks off properly in 2011 with Venom Vol 2 by Remender and Bunn. The Spider Island crossover as part of this run goes in tandem with Amazing Spider-Man. You can use a guide to sort these issues or get the TPB or Epic Collection that covers them.

Right in the middle of Venom Vol 2, Flash joins the Secret Avengers in issue #23. This is the sort of "official" intro of the Agent Venom iteration specifically. You'll also see this era tie in to the Minimum Carnage crossover. It's an okay read, but doesn't leave a lot of lasting impact on the story. You can skip it, for now.

Agent Venom also joins the Thunderbolts from issue #1-23 (Way and Soule). This is skippable.

Superior Spider-Man #22-25 is the pretty darn Superior Venom story and coves the gap between the end of the Agent Venom run and the beginning of the upcoming space-based stories. It's an an odd comic, though, in that very quickly changes the shape of Flash's relationship with the symbiote, but that relationship holds going forward.

Flash Goes to Space

His story continues in the Guardians of the Galaxy run from 2014, joining in issue #14. The most important part of his tenure with Guardians, however is issue #21-23. This is where we see the symbiote/Klyntar homeworld.

He rejoins the Guardians for 20 issues in the next run starting in 2015, but it's skippable.

These are both available as their own omnis or TPB collections.

Venom: Space Knight is sick as fuck and my favorite with Flash. A lot of good, juicy alien lore.

Eddie Becomes Venom, Again

Before Eddie goes back to his boyfriend, he spends some time as Toxin. The bulk of this is covered in the 2015 Carnage run by Conway.

Venom Vol 3 by Costa begins in 2016, and we see the transition from Flash to Lee Price briefly then finally back to Eddie. This is my personal favorite major run. It currently comes in 4 TPB. Starting here gives you street level Venom again but does drop you deep shit into the lore. You can one-hundred percent start here, though, extremely easily because they treat it as a soft reboot.

Within this run you'll see crossovers for Venom Inc. and Poison X. These expand on the overall story by introducing Mania and the Poisons, the latter of which are lead-ins for the first Venomverse comics. You can skip the Venomverse storylines, for now, but they are a lot of fun.

First Host is a really great mini-run in 2018 that talks about the true first host of the symbiote and introduces Sleeper. It's available as a TPB.

The Cates run (vol 4) (also has Bunn on it) begins in 2018, and it's very very good. It's where the character of Knull comes from, as featured in the new movie. A lot of people start here and have a good time. The way it's narratively constructed, it's beginner friendly, but you're sort of coming in at the end of Eddie's arc.

This also involves the Absolute Carnage and King in Black crossover events which are collected in a TPB/Omni.

This is also all collected in the recent Cates and Stegman Venomnibus.

The current Ewing run (vol 5) ends in November (cries), but you CANNOT START HERE. Without the previous Cates run, at minimum, the current run is missing vital story and lore information. You will be so lost, at first, that it simply won't be fun.

You'll note I've skipped a number of side runs including a few Carnage runs and Toxin. Slot them in if you want additional lore and story, but you can get by without them if it all becomes too much.

The lore drops that appear in Spider-Man in between solo runs might seize you up for a moment, but when necessary, the solo comics will catch you up as needed.

The past five years have also seen a handful of retro-runs that go back in time to tell stories from Eddie's early time with Venom. You could slot them in with the other 90s mini-runs, but I think they're more fun after you've been reading for awhile.

A new run is starting in December called All New Venom where Eddie will no longer be the host. Who will? We don't know! The way it's being advertised, I'm going to make a guess it ends up being a passable starting point for new readers. I'll know when I get my issue #1.

[blueteller]

I found this on reddit it's not my opinion but it's kind of funny and disconcerting.

What do you think?

( https://www.reddit.com/r/CharacterRant/s/uwKw63Cgoc )

"A rant on Trash of the Count’s Family

Alright before I begin I would like to preface by saying that I am a long time reader of the novel and love this novel to death. It kept me company during my darkest and lowest points of my life and I am forever grateful for it !

The rant also in no way affects the brilliance of the story. With that out of the way here it goes:

This is an amazing fantasy novel filled with great visuals, writing, story and top-notch characters. However it has TWO big problems that broke the story smooth sailing for me and I need to rant about it because where I am from I am pretty sure no one reads TCF in a 6000 mile radius.

One big problem was the romance. THERE IS ABSOLUTELY NONE OF IT. This is not a problem if the main character doesn’t want romance (he doesn’t nope) but NONE of the main/side characters that has been introduced so far also want nothing to do with romance. It was a little awkward to read the story based in medieval setting where characters are as pure as angels as they come.

Now, you can of course raise the point that romance was never the main focus of this novel (it’s not even a background focus or some D plot) but let’s analyse this novel here for a second okay? This novel is very gore and never ever shy away from very dark themes or stories.

- The main protagonist of the story (sorry forgot his name it’s been a long time) has his entire village with whom he has spent 20 years murdered and burned to ashes, all the men women and children are totally dead.

- The Prince story is also pretty dark and deals with some adult themes about race and identity.

- The dragon raon (is that the name?) backstory is…holy shit some hardcore torture and let’s not forget the revenge torture that happened later with raon eating steak.

- The butler and his butcher son

- The absolute crazy HUMAN EXPERIMENT arc that was happening in the Empire. I mean holy shit they really went into crazy detail about body mutilation and the scientists are absolute psychopaths in how they love their job.

And I am just scratching the surface about how dark this novel is and there’s plenty of it. The point is that it is very adult oriented novel with these stories but on the flip side their romance department is so negligible that even Tom and Jerry had more romance than this.

It actively avoids it like a plague. Why is this an issue? Let me explain.

Simple answer it feels a little jarring or disorienting when you read the novel like going back and forth between watching the looney tunes movie and switching immediately back to a Black Mirror episode.

But I have to give where credit is due. I didn’t notice the romance problem until after some 500+ chapters later (that’s how good the novel story is ) and how did I notice it?

After some battle trying to reclaim the south (north?) tower and this is the part where the Empire’s royalty is on the brink of collapse the redhead girl (I also forgot her name but she is part of the main gang) is extremely tired after a long battle and Cale tries to help her by giving her some healing potions (remember at this point she is the only female character that understands Cale the most and their relationship is the most developed of all) but she says she is so tired she can’t even lift her arms, so Cale (as logic would have it) offers to feed her the potion himself (see completely logical under the circumstances) but Raon the dragon out of nowhere says, “You are too weak Cale! Let me do it”. And I am like…say what? We know the main gang always comments that Cale is weak and all but come on guys we know he isn’t and in fact he’s been through crazy shit. During that battle he never had to fight and was in top condition so that remark from raon made even more less sense.

And then the redhead laughed it off and said “it’s okay I will do it myself” and she does…after a bit of struggle to lift the said bottle.

It’s a small thing but it did break my immersion (it was already broken before, I will explain later). It forced me as a reader to actually “think” about the author intentions something that should never happen when reading a fantasy novel. And it made me go “hmm wait a minute” and then I reflected back on all the 500+ chapters I have read and I came to a realisation that…forget main character romance there is hardly any romance of any proportions from any and every character in this whole novel! It was so impossibly impossible that it teared through the immersion completely.

The second reason for this rant and this is connected to when my immersion showed a small crack. And this reason is purely a preference thing so feel free to ignore this as you want.

I personally believe that when you make a “reborn in a fantasy world” story you absolutely must never collide “our” world with the fantasy world.

Don’t do that.

From page 1 you are setting up this fantasy life, fantasy way of living and thinking, fantasy people, fantasy stories and most importantly a fantasy you. Don’t break this immersion by literally making the world he (Cale) came from an integral part of the story.

When the main protagonist found out who Cale really is and confronted him about it by listing some Korean food items I was a little disappointed because it felt like a parent telling a child that role playing as a prince and over now put the castle made of pillows back in place and do your homework for school tomorrow.

Maybe it’s just a me thing but after that confrontation, every time Cale interacted with anyone be it the redhead, his dragon, butler or anyone it all felt so plastic and fake, like I was overly conscious of the fact that this is a fantasy land filled with fantasy people and well…it made me feel a little lonely."

Wow, this is quite interesting! Thanks for sending me this. Not because I agree – anyone who knows anything about my opinions on TCF would know that the very 2 points that the author of this post has "problems with" are the things that I embrace with great enthusiasm.

So, prepare for a long ride!

First of all, let me make this absolutely clear, the same way this person did at the beginning of their own post; they are allowed to have their own opinion on what they like or dislike. The same way I am allowed to like or dislike certain elements of stories. I don't claim that TCF is a flawless work either – it's just that all the flaws it does have, at least to me, are so minor I don't care about them in the slightest.

I might actually be "brave enough" in the future to actually make my own post about the "flaws" of the story for me, no matter how few. But not today. Today, let's focus on the reddit post.

Now, imagine a person (the author of this post) is given an apple pie in a restaurant.

This person very much enjoys apple pies. They continue to visit the same restaurant and keep ordering this apple pie. But after a while, they discover "two big problems" with the apple pie.

First of all, it does not contain cinnamon. So this person is like – why not! That is, they did not notice before, but it is SO jarring to them now that they know! Because they believe all apple pies should contain cinnamon. Secondly, this apple pie is made out of a species of apples they do not like. In fact, they are convinced this apple species is not fit for apple pies! So, they quit ordering apple pies at this restaurant.

Meanwhile, there's a second regular customer (me) who orders the apple pie at this restaurant. This customer, in fact, is kind of sick of cinnamon. They were so happy they discovered a restaurant that doesn't use it! This person also notices this apple pie has a very interesting texture to it, one they very much enjoy, because of the specific apple species this restaurant uses. It quickly became their all-time favorite dessert.

Obviously, neither customer here is wrong. "The customer is always right in matters of taste" is a saying for a reason (although people usually say only the first half of it, forgetting the second part), and just because I love the "apple pie" in question, I am not going to shame the other person for their own taste.

With all that said, please allow me to address to the post properly, step by step.

First, when addressing the lack of romance as a problem, this is this person's argument: they list major dark moments in the story, like Choi Han's village getting massacred, dark race racism, Raon's torture et cetera. Then they say, "The point is that it is very adult oriented novel with these stories but on the flip side their romance department is so negligible that even Tom and Jerry had more romance than this".

Correct me if I'm wrong, but I don't believe… Tom and Jerry had any romance either. That cartoon did not even have dialogue. So like, huh??? What kind of argument is that? Should I say that Tom and Jerry has a critical flaw that is has no talking despite being all about comedy? That it would have been better if it was dubbed or something? Well, there was that one movie I remember from childhood but – never mind, we're getting off track here. This argument kind of, completely falls flat for me.

I get the implication. "TCF is has so many dark themes, it should be mature enough to contain romance as well". Which is, completely off the mark for me, personally. Maturity and romance have NOTHING to do with each other.

There's also the statement that "It actively avoids [romance] like a plague." And I agree, kind of. This story avoids romance on purpose. But It never felt unnatural for me. I was kind of expecting it to pop up eventually, back when I first started reading. I thought for SURE Rosalyn would be somebody's love interest – because she had to be, right?? But it gradually dawned on me that there are so many cool, pretty, strong, independent female characters… And none of them are representing a specific fetish or exist solely to be somebody's wifu. The women are PEOPLE, they are fleshed-out, complex characters who have goals and ambitions and just like for the men, there is no thought about romance here because there is so much going on – most of it world-ending, in fact – that focusing in romance would actually DECREASE the maturity of the story instead of enhancing it.

The author of the post said, "It was so impossibly impossible that it teared through the immersion completely". What, do you need characters getting laid to be truly realistic mature adults or something? I think you have the wrong idea about adulthood… Let me say it again, those people are too busy in this story to focus on dating. Even if Cale himself wasn't so obviously ace, his life has been so crazy since he transmigrated, I have no idea HOW on earth he could have found the time (or anyone else for that matter: just look at poor Alberu, swimming in paperwork 24/7!). He can't even sleep for more than 4 hours per day during the war arc. What I personally would find jarring is exactly this: characters trying to freaking date or play off romantic subplots while the world was LITERALLY GETTING DESTROYED. That would have been so petty and ridiculous.

So, the expectation that there HAS to be romance, just because… I think it is a faulty expectation to have in the first place. And it is NOT unnatural that the characters don't do romance (especially with how many species there are among the cast and the age gaps between them, it would have been awkward to say the least; unless you're the type to like Twilight style of romance). The story put a lot of focus to forge familial bonds between the characters. It doesn't lack in the relationship department, just non-platonic one. And if this is a problem for someone and they find it jarring, well… Again, no cinnamon in apple pie, I guess.

Next, we have the argument that "when you read the novel like going back and forth between watching the looney tunes movie and switching immediately back to a Black Mirror episode". I don't know Black Mirror, but I get it. The author of the post claims that the comedic character interactions – the ones that had been very well established in the first 200 chapters of the story, covering full 2 years in the timeline – are… what, unrealistic? Inaccurate? Cartoonish? I’m not 100% sure what the exact issue is here.

They quote a scene where I assume Rosalyn is too tired to lift her arms and Cale offers to help and Raon says he's too weak and let him do it instead. The author of the post then acts confused, as if it was completely unreasonable, because Cale is not weak. Um…. I don't know if they were not paying attention, but that's just false. Cale is PHYSICALLY weak, despite all his Ancient Powers. That is exactly the whole reason why he keeps coughing blood and fainting and stuff. So it was funny, and in-character, and fitting with the rest of the story – at least in my opinion. If that broke this person's immersion, then fine I guess, but I really don't see the reason. I guess they don't enjoy the "texture" of this "apple pie".

Speaking of texture, the last point pf the post I want to address: the belief that you should not mix "real world" and fantasy. They say, "I personally believe that when you make a "reborn in a fantasy world" story you absolutely must never collide "our" world with the fantasy world. Don't do that". Excuse me, but uh… why? That is not the case at all, for many stories? I mean, you could approach it that way, nothing wrong with keeping it separate. But most classic isekai examples usually stray from that idea, actually. Are you familiar with Chronicles of Narnia, by any chance? Did you know that the magical lamppost that Lucy found in the woods actually came from England? It was a very fun bit of backstory from the Magician's Nephew.

"Don't break this immersion by literally making the world he (Cale) came from an integral part of the story." Why not, man??? It was so brilliantly done! In fact, it was so freaking cool, the way TCF did it! What, is "our world" so boring and terrible you must keep it separate from the fantasy at any cost? It was plot relevant, it gave Cale legit ties to the new world, it fleshed out his character, it was incredible! 10/10! If TCF lost that element, it would have been a great loss.

And even if you don't like the mixing of "fantasy and reality" as something "immersion breaking"… there is one problem with this kind of argument, in TCF at least.

Kim Rok Soo is NOT FROM OUR REALITY.

Let me repeat: the man is not from regular, modern Korea! HE IS FROM A FANTASY MONSTER APOCALYPSE DIMENSION!

The whole reveal of what kind of place KRS comes from is what make this story so good to me. It was an incredible twist. The "regular, normal man from modern world" was a red herring meant to hide the fact that he was an ability user from what is basically a superhero world full of monsters! It is not! Regular! Modern! World!!!

"When the main protagonist found out who Cale really is and confronted him about it by listing some Korean food items I was a little disappointed because it felt like a parent telling a child that role playing as a prince and over now put the castle made of pillows back in place and do your homework for school tomorrow." That… you really, REALLY missed the point here, man. That was not the vibe of the scene at all! Choi Han and Cale are both essentially war veterans, mentioning foods from their childhood! This the "Frodo and Sam talking about the flavor of strawberries from Shire at the foot of Mount Doom" from Lord of the Rings type of moment! Only, well, a bit more comedic. Still, it was so touching!! But, well… again, you don't like the taste of the pie, there is nothing I can do about it.

And lastly, there was this paragraph at the end of the post:

"Maybe it's just a me thing but after that confrontation, every time Cale interacted with anyone be it the redhead, his dragon, butler or anyone it all felt so plastic and fake, like I was overly conscious of the fact that this is a fantasy land filled with fantasy people and well… it made me feel a little lonely."

I never noticed such a thing. I do not know if more people felt that way. But I always thought that the characters were well-established and their behavior natural. I am sorry that the immersion break made the author of the post lonely. I hope they can spend time with their friends and feel a little better. Fantasy shouldn't just be a tool to "fill an empty void in your life and escape terrible reality". For me, stories are meant to create something beautiful, to inspire, and to make one consider the possibilities of reality. I mean, if Cale can stop world-ending threats by being brave and making good strategies, why can't I handle the minor problems that reality has to offer? It's all a matter of perspective.

So, that is it. That's my whole response. I hope it satisfies you! Have a great day!

[maleyanderecafe]

Death by Fire (Visual Novel)

Created by: V0dka

Genre: Horror/Romance

Death by Fire has some nice art, and an interesting concept though there isn't too much as of now considering it's a demo. The main character, Arson not only has a cool name but a cool design with a half mask. If you are interested in this game, you can find more out at @deathbyfirevn.

The story starts out with the MC waking up. They seem really tired and grumbling as their boss has called them. They decide to go buy some groceries, being served by a nice cashier. As they go up the stairs to their apartment, they come across some graffiti welcoming them home before getting knocked out. Upon waking up, they find that they are tied to a chair, with an animated TV show playing in the background. Someone states that it was a show that the MC liked when they were younger and as the MC looks at him, they see a man with a mask and some blood on his face. They can either ask about the blood or why he kidnapped them.

If the MC asks about why they did this, they will seem disappointed that they don't remember him, even though the MC has absolutely no recollection of him. Whereas if the MC talks about he blood, he will state that he cut the limbs off of a man who was trailing outside of their house. He will then state that he is taking care of the MC now, all of their eating, drinking etc. He will then ask if we like the TV show that is playing.

If we say yes, he will be happy whereas if we say no, then he will seem disappointed as we used to like this show in the past.

After which, he will attempt to loosen the ropes where we can either attack him or stay obedient. Attacking him will lead to knocking him over, however he will be able to grab hold of their ankle. He is unhappy, stating how happy he was when he first was able to see them again after so long, however, in displeased by the results. Staying obedient will lead to him introducing himself as Arson and him stating that he will have to buy somethings tomorrow before the MC falls asleep.

So as I said, fairly short. The story mostly follows the MC being annoyed before being otherwise kidnapped by Arson, though we do get to learn more about him through his appearance and his relationship with the MC. Arson seems to have known the MC from the past, though we don't know how or why, and based on his appearance probably had some injuries to the left side of his face, probably due to fire (considering his name is Arson and the title of this game). We also see that he has bandages on his arms so it's possible that he might self harm or that those too are injuries from said fire. Based on the cartoon that he plays, it's likely that Arson and the MC met when they were really small, so it's likely one of those childhood friends that the MC no longer remembers. I am curious about how Arson was able to kidnap the MC in the first place, since at least in our point of view we simply get knocked out before waking up to being tied to a chair. Still, it seems like the game will either be attempting to escape or enjoying the life of Arson taking care of us while being tied to a chair, either of which will likely lead to some interesting backstory between the two.

I will say that the art is very pretty, I like the design of Arson since there is a lot of intrigue to what happened to him from his mask to his mostly expressionless face to the bandages of his arms. He does a lot of good character design storytelling just from his design considering we don't know that much about whats happening in the game yet. The clerk also seems like she might be an important character (though it might just be that she's the only other character we've seen so far).

Over all though, a pretty short game, though an interesting premise. As I've said there's currently not much on it, but hopefully it becomes a fun game for everyone to play in the future.

[jess-bradford]

in the romcom genre, the pairing gets a happy ending. no exceptions. romances that don't end with happy endings for the main pairing aren't considered romances by genre conventions. so, given that tim and oliver have been calling bucktommy a romcom... what's all this then? this is normally the place in the story where the couple just emerges from their honeymoon period to hit rock bottom. (see: the black moment). the characters hit a hurdle that seems insurmountable and then are forced to work through the issues keeping them apart to find their way back to one another. the third act breakup before the eventually happy ending. so... what's all this then? if i hadn't read the interviews i would've pegged this as the black moment, the temporary hurdle placed in the couple's way before they eventually work past it.

so where do they go from here? if this is actually not meant to last, i do think the breakup is going to leave a sour taste in some people's mouths even if B/T get back together. and they expressed wanting to get buck off the "hamster wheel" so just putting him in another string of not-meant-to-last relationships seems regressive. (i think having buck sleeping around could actually be interesting if handled well, but right now i don't know if i trust this writing staff with that sort of arc.)

also i will be honest and say, to me, it doesn't sound like lou is 100% absolutely not coming back. it feels like the door's been left ajar (which, they'd be dumb to completely slam it shut and cut off a potential avenue of stories just like that but still). and we should keep in mind that most of these journalists are B/E shippers first so there might be a slant baked into their interviews.

i just don't know where this is going now after being told by tim "this is a romcom" (thanks tim, you've broken genre rules if this is a permanent breakup) and that he wanted to get buck off the hamster wheel. i suppose they can pivot to buck taking what he learned into a new relationship but he's already done that after abby, after ali, after taylor, after natalia... it's just boring. if they didn't want buck to settle into being with tommy because they weren't sure how to write SLs for him that's a skill issue. they've written bathena just fine without constant relationship issues. they're happy and settled together but still have conflict that doesn't necessarily have to be relationship-related. they could've easily done that for bucktommy too. (kind of an aside, but it also feels like they don't really know what sort of SLs to give henren and madney.)

after going through the trouble to bring tommy back, set him up to fit in with the 118, stating that tommy being a firefighter/pilot could lead to his inclusion on calls, introduce and hint at backstory that tommy longs for family/belonging, only to never actually deliver on it... why?

[raven-at-the-writing-desk]

Yo! Good morning/evening, hope you are fine^^💝. I wanted to ask you a question but I was afraid that it may bother you or something (you know..that feeling when you are scared that you might disturb someone or being an unwelcome person) but yeah I will ask you since i was serious about your answer for some time now so I hope I'm not annoying you or something *feel free to answer only if you wish^^. You seem to know the characters pretty well, you are quite capable and great at reading and understanding them, one of the things I'm serious about is what do you think would make someone qualified enough to be with malleus? Do they have to be of the same species?certain Reputation, stature or traits?(sorry can't help it since I can't rest until I know everything about what interests me and figure it all out😅). Thanks for giving me some of your precious time I really like your blog, you're amazing💜

No worries, you’re not bothering me at all ^^ I love to talk about my hyperfixations www

Now, I know a lot of fans (particularly on the EN side) like to ship Malleus with their OC and especially with Yuu so I want to first make it clear that my response is NOT meant to invalidate those Malleus shippers. Whatever I say here is based on my own interpretation of canon lore (and let’s be real here, TWST won’t ever confirm if anyone is romantically interested in Yuu because it might not work with how some players view their own relationship with that character). In fanon, anyone can be with anyone, but in canon there are very specific in-universe rules and expectations laid out for Malleus so these are what I will be referring to.

I also want to emphasize that the final traits I discuss in this post do NOT reflect Malleus’s personal tastes or views. He has little say in what kind of an individual his spouse would be, so his own preferences are not speculated about or taken into account here. The traits I will be bringing up are based on what I believe the lore implies are the desirable traits for those marrying into the Draconia royal family.

We got it? Good 👍 Read more below the cut!!

Firstly, I’m completely disregarding the ideas of “Malleus can love whoever he wants to love”, “Malleus can scare people into accepting who he loves”, and/or “Malleus can change the law so he can marry who he loves” (a la Sultan from Aladdin or through some other Disney magic or logic). Here’s why:

In general, those solutions for “high stakes issues” are too simple, and that has never been how Twisted Wonderland tackles complicated problems. Just look at every single OB boy’s backstory. They’re so complex that they aren’t totally resolved by the end of their books; these problems persist and are long term things each of them are working on addressing. This is also true of the politics TWST introduces to us; Leona for example explains how there is social pushback and resistance to the idea of infrastructure reform because the culture of the Sunset Savanna stresses harmony with nature. This has made it difficult for them to adopt new technologies because real politicians in their world have to seriously weigh their cultural values with their health and societal progress. The only time there are really easy solutions are in events or vignettes where the emotional stakes are not super high, but who Malleus marries is, in fact, super important since this will entirely change the life of a main character and his country.

With that first bullet point in mind… No, Malleus cannot love whoever he wants to love. Certainly, he may feel affection for another but he can never truly be with them. He is royalty and the only heir to the throne of Briar Valley. It follows that he is expected to marry for political reasons/to better his nation. This is a non-negotiable obligation for him.

Rather than saying, “Malleus cannot scare people into accepting who he loves”, I think it’s more accurate to say Malleus knows he probably shouldn’t. I mean, yes, he may be upset about his S/O not being accepted by his people but I feel that is discrediting a lot of the loyalty he has for his own country. As a kid he may have thrown tantrums when he was upset and potentially harmed staff, but as a 178 year old he has a much better understanding of decorum and maintaining it in spite of his own grudges. For example, even though he personally dislikes Leona he still commands Sebek to apologize to him because, at the end of the day, this could harm Briar Valley’s relationship with the Sunset Savanna. That’s not to say that Malleus can’t be petty (he definitely is)—but implying he would be petty toward basically his entire country just because they would disapprove of the one he loves?? (We know this would likely be true because Sebek’s parents faced similar backlash when they got together.) I feel like his own sense of awareness and responsibility for his country, crown, and people would override that. As an example, Malleus states that he has never been in a car before because the senate would be against it and often kept Malleus in the castle. Someone of his power could easily ignore them and sneak out and do whatever he wanted, yet the dialogue implies Malleus didn’t. He obeyed his political advisors even when he was younger and arguably much more immature. Malleus might not like certain decisions made about his life but it sounds like he ultimately complies with them.

Continuing from the previous point, let’s say for the sake of argument that Malleus does scare everyone into line. What about his public image and the mental health of his S/O? Maybe Malleus can frighten people to not talk out of turn to his face, but he cannot control what people whisper about him behind closed doors or to treat his S/O well or like they actually like them. Not only would they be alienated (away from their own home and forced to adapt to a new one) but they’d be treated oddly by others too. What kind of reputation is that for Malleus? To be a tyrant king who throws a hissy fit anytime someone talks about his partner in a way he doesn’t approve of? With a spouse who is not at their best mentally because of the constant ostracization? (This is similar to what Leona experienced in his childhood.) I don’t think Malleus would want to subject anyone to that kind of life, especially not one he loves. And again, this attitude would be the vast majority of his people. It’s not like it can be avoided or resolved in an easy manner, especially when the people of Briar Valley have proven to be against change.

Lastly, Malleus would not change the law so he can be with whoever he wants to. To begin with, I doubt this is a unilateral position the senate would approve of. But okay, let’s accept that Malleus is royalty so his power overrides the advisors’ power. So he effectively just changed a law for a very selfish and personal reason rather than changing something to actually benefit his people. That doesn’t feel in-character for him, not when Malleus seems to understand that it is the duty of those in higher status to help those below them rather than themselves (see: Riddle’s Suitor Suit vignettes. Malleus has acted selfish before, yes (who remembers Endless Halloween Night? His Dorm Uniform vignettes? I do.)—but never at the cost of changing the status quo of his country. (Book 7 is not included here because he’s in a very distressed emotional state then; this “new law” scenario posits that Malleus is in a normal state of mind.) This is a major change—change which Briar Valley, its people, and most importantly, Malleus, are not ready for. You think there wouldn’t be social pushback against this? From a society that has become complacent with its own way of life and is still isolated from the rest of the world? That Malleus, someone who struggles greatly with accepting life changes himself, could enact such a big change so easily? (On a more technical level, you don’t just pass a law and it instantly becomes tangible or real, there is a process of approval and then implementation.)

Additionally, it’s made clear in Ghost Marriage that “[Malleus] cannot enter into an engagement lightly”, which is why Sebek goes in his place. Eliza, the Ghost Bride, is royalty (er, albeit dead) but it seems that royal status is not enough to qualify as his partner. Maybe this is because she’s dead and doesn’t have anything of value for Briar Valley (no land, no people, no political power), but it could also mean that the partner has to be given the thumbs up by other parties.

All that being said, here are some of the conditions I think would have to be met for Malleus’s future spouse:

Has to be someone of equal or at least high status. This means they also have to be a royal or at least of nobility. This appears to be true of Malleus’s dad, who is referred to as a duke.

Because of how self-contained Briar Valley is + nocturnal fae having beef with diurnal fae, I imagine his partner would have to also be a nocturnal fae. This would also solve the MASSIVE lifespan difference between fae and non-fae because at least fae would be far closer to each other even if their lifespans fluctuate but subspecies.

Someone suited to rule by his side. Being married into any royal family is no joke—it comes with the expectation that you will contribute somehow, and the partner should be fully equipped to enter the world of politics with him.

Piggybacking off the last point, I think mental fortitude is also a prerequisite. This is because being a politician (navigating the social climate both within your country and outside of it, keeping your people and colleagues happy, maintaining public approval, managing laws, dealing with potential attempts on your life, etc.) can be very stressful and can hurt those who are faint of heart or not prepared for the responsibility. Leaders have to make tough calls at the drop of a hat, and they have to be ready for it.

Has a lot to offer in terms of benefits to Briar Valley as a country. This could be in terms of resources, connections, and/or political savvy. This appears to be true of Malleus’s dad, who acted as a diplomat for Briar Valley.

Vetting and formal approval from the senate. lmao good luck with that

Has to be able and willing to have a child. They at least need an heir to the throne to succeed Malleus. (However, knowing how exclusionary and conservative as heck the senators are, I doubt they would accept anything but a biological child 💀)

Preferably someone with powerful magic or is skilled at magic already so as to lessen the chance of “tainting” the bloodline with a weak mage or a non-mage.

I believe that Briar Valley would prefer someone with old fashioned values like them, not someone pushing for massive reform. They have a culture that is resistant to change and a history of fighting for resources with outsiders, so if Malleus’s new spouse tries to introduce a bunch of technology or open its borders to other countries (even if they have good intentions), the people + the senate may oppose them. His father is implied to be open-minded, but he at least understood that such change isn’t reasonable without time and effort dedicated to the endeavor.

All that being said 💦 I think that this topic is actually less about what Malleus as an individual wants and what his country, his people, and, yes, even his asshole senators, want. This is basically an arranged marriage situation so that their country can maintain power and relevance. It’s about the collective and what Malleus must do for their perceived security and prosperity.

[ninja-confession-go]

Long rant about Jay (not a hate rant quite the opposite actually)

I hate that they got rid of Jay's mechanic/inventor traits as time went on. And instead of just bringing those traits back they keep introducing characters to fill In that role.

Like Im sorry but why are 3 of the 4 gals apart of the main group into mechanics or deals with tech in someway??? Why is Wyldfyre the only gal who doesn't have an interest In tech????

Nya, Sora and Pixal all fulfill essentially the same tech role and while that's fine as they can easily fulfill different aspects, my issue is WHY NOT BRING JAY'S SKILLS BACK THEN?

They r clearly not afraid of multiple characters fulfilling similar roles so why was Jay the only one who's mechanic skills were stripped away?

Like his skills were so important in the earlier seasons he helped out so much and even got the bounty for fuckin fly?? Like his skills in machinery was also a reason why wu chose him too so to strip that away just makes no sense?

Like I'll forever be salty about this, his intelligence in machinery was so interesting to see especially when u consider the comedic kinda of character he's supposed to be. They could easily made him the mad scientist type of inventor/mechanic but they just hate fun and whimsy and would rather he be just comedic relief and nothing else I guess.

THATS ANOTHER THING

I hate how they treated Jay like he was stupid in later seasons too. They really dumbed him down instead of being the smart comedic relief he's the dumb comedic relief and I HATE it. bro literally deals with mechanics and made shit from scraps if there is one thing he ISNT, is stupid.

Like if they had just made him, let's say not emotionally intelligent i could understand. This is my own personal headcanons coming through, but i don't think he was around many other humans aside from his parents and occasional mail man growing up, and while i dont think he means to come off as a jerk, he tends to say shit without thinking it through as we have seen ALOT and that could be chalked up to him dealing more with machines than people. So If they had just focues on his lack of emotional intelligence, THAT I could understand and would have been fine with. Obviously this is more my own headcanon coming through but u get the idea

But they just made him more all around stupid and I just find that so hard to believe.

I hate how none of Jay's backstory has been explored too.

They introduced a mind shattering revelation that Jay's adopted and proceeded to do...nothing with it.

WHYYYYY???

It would have been so cool to explore that but no, it gets no mention or focus at all aside from that random coversation betwen Unagami and Jay in the season that absolutely should have been a Jay season but for some reason wasn't. Like why bring it up then lol

I also hate that all of Jay's conflicts tend to involve Nya. Like I know they yin/yang but cmon bro, not every conflict Jay goes through has to focus on his relationship with Nya. Let this man get SOME interesting characterization that isn't based around Nya CMON

I saw a few posts on here talking about Jay's characterization and I just had to jump In with my two cents cuz it's crazy how they brutalized him in later seasons. The Fandom tries their hardest to keep the mechanic aspect of Jay alive and I appreciate that so much cuz it's a crime they got rid(or forgot or whatever) of it later on

If u can't tell I'm a Jay fan who's mad their fav was done SO dirty LOL

.

[mandatory-blog-stop-asking]

thinking about Emma Frost again. let's imagine for a second X-Men matters and my opinion must be shared.

When I was a kid I really respected and liked Professor X. I thought his stances on issues were calm and reasonable and I thought his efforts were, while ultimately fruitless, the best ones in the fictional conversation about inclusivity and race and all that. this is a subtle reference to the fact I only watched the cartoon and the movies as a kid.

When I grew older and learned English I started engaging with the comics and realized that oh, turns out the adaptations are superficial at best and fladerizing at worst, and there's a lot more to Charles than Being Correct. He's actually in fact a scathing critique of control and flawed leaders of good faith ideals, and how you're supposed to grow over those who created the words you use to free yourself from tyranny. Professor X is a jerk, Magneto was right, all that.

But over time I realized how much that erases Emma Frost, villain turned voice of reason extraordinaire.

Emma starts her tenure in X-Men as Claremont's personification of everything that is bad with high society, accosted by Sebastian Shaw, which is that but male. Emma is genuinely awful when Claremont writes her; a GOOD awful, on purpose, but she's not supposed to be relatable. She has her own mutant school, her own team of mutants, her own answer to Cerebro. She's the most genuine Evil Xavier we get for a full two decades. and she's great at it! Even if the hellfire club almost always truces with the X-Men for the sake of fighting a more important battle, there's no question that you're not supposed to root for Emma.

And then in the 90s something changes, Claremont goes away for a second, other people approach the character, and the question becomes, why are we treating her like evil Xavier? She's building community. She's giving a voice to the disenfranchised. She's training them and she's caring for them and at no point is she asking of them things they actively disagree with, which can't be said of Charles. And so starts the process most every X-Men villain goes through: humanization, complexity, redemption. And fuck does Emma redeem herself.

Ten years into not being a caricature of high class, Emma has accrued a tragic backstory, several positive projects in canon, renown as a genius, positive relationships to several characters, and a main team spot in a highly acclaimed, influential run as of New X-Men. A whole new generation of readers introduced to Emma, new powers, new MO, new everything. Other characters are changing drastically, usually backwards, to accompany the movie's success -- Magneto is evil again, Jean goes back to being the Phoenix, Charles is a lot more like Captain Picard. But Emma? Emma gets to keep going. She changes things wherever she goes.

She hooks up with Cyclops, her daughters become their new Cerebro, she becomes the new heavy-hitter, the Hellfire Club becomes more Shaw and Shinobi's deal than hers... obviously, this isn't consistent. She's got low points and moments that don't agree to her new character. But this woman, who started as commentary on how the rich will destroy you for fun, is now a key positive portion of the world because at some point in time, she had a point -- Charles *isn't* the end-all-be-all of the matter of teaching young mutants, Erik *isn't* the best way forward as far as mutant armadas go, there *is* nuance to their dualistic conversation, the dichotomy is only enforced because they're loud, but she can be louder, she can be louder than any of them--

And then Krakoa hits. Yes, there's a full ten years of bad X-Men stories, many of them including Emma, at least one of them including Emma genociding a few Inhumans. But then Krakoa hits, and every character gets a new project.

Cyclops? Seeing the world move on in ways he might not approve of. Wolverine? Being happy, and realizing he means to fight to keep it going. Erik? Charles? Apocalypse?? Seeing how strong their "dreams" are when they compromise, and realizing oh, I am willing to do *anything* to keep this going, quite literally anything, there is no crime predicted by man or god that would be beyond my reach if it meant paradise would not be lost.

Emma? Emma keeps doing what she's been doing from the word go. Keep it fabulous. Keep the children safe. Don't fall for the lies. At some point someone will invade your privacy and try to take everything away from you. Your job is not to simply destroy them. Your job is to showcase to them how this too was accounted for.

Emma, alongside her planning, her alliances, her leading of the resistance, her unfathomable internal strength and her willingness to see the world for what it is, won the war for Krakoa. Charles wanted things to stay the way they were, Erik wanted things to be the way he dreamed they could be, Apocalypse wanted things to impress him.

Emma wanted them to be safe and sound. Emma wanted the children to be safe. And when Krakoa rose and left, now fully developed and having outgrown her as well, she picked herself back up and went to train a new generation.

There's always children to keep safe. There's always a new generation. The work is never finished.

Yes, the O5 have their own version of Xavier's dream fulfilled, but Emma is the only one who managed to keep herself genuine while evolving. In a room with religious zealots, war criminals, villains and ancients evils, Emma could always look at Kitty Pryde and think to herself, look at what we're doing, my friend. Look at what we have to work with. We're not saving them from themselves, we're saving everyone they're willing to sacrifice.

I wish those adaptations would make Emma Frost sound like she does to me. She's not just a third option to the Professor X-Magneto dichotomy. She's a person asking why is this a dichotomy in the first place. She's too busy actually caring about people to bother with the bickering.

For the children, they said when they wanted her to join their little utopia. For the children, she sighed back, realizing that if she didn't say it, quite literally no one else would.

[mirokuna-hime]

I honestly think people are jumping the gun with their disappointment over the new story quest in 1.2

The whole purpose of Xianzhou Luofu arc is to set up future events.

The writers tell us this by having Kafka admit to the MC that the whole point of this operation for the stellaron hunters is to have the Xianzhou indepted to the Astral Express crew so that they will aid them in their fight against Nanook the destruction.

Herta Space Station and Jarilo-IV were used to introduce us to the game mechanics and to establish the trio of Dan Heng, March 7th and the Trailblazer with the Space Station also serving as a prologue.

Jarilo-IV however did nothing to develop the overarching main plot of the game. Belobog was it's own self contained arc to ease the player into the game and they are now using the Xianzhou Luofu arc to plant the seeds for future chapters.

People are already calling Blade a wasted character, because his confrontation with Imbibitor Lunae didn't play out like people hoped it would, because they didn't drop his entire backstory in this quest even though it's pretty clear that Blade, Kafka and Silverwolf will be reoccuring antagonists over the course of the story.

The prologue already introduced us to Kafka and Silverwolf, heck Silverwolf even got her own event.

Introducing Blade and his connection to Dan Heng to the player is what I would argue the other focal point of this arc. Every theme this story introduced to us can be connected to Blade (immortality being a sin, what it means to be mara struck, manipulation, the weight of our past actions and how we deal with them etc.), it's so that we can understand his story and motive.

Not to mention that it opens the door for character development and development of Dan Hengs and his relationship. Right now Dan Heng doesn't make the connection that Blade is his previous incarnations "friend" (in quotation marks because hoyoverse is being sussy with them) and he's still running away from the past. Meanwhile Blade is consumed by his vengence, his desire to die and he is also getting manipulated by Kafka (admittedly she kinda has to because of the Mara but that barely changes anything other than making us see her in a bit more positive light).

All points that will need to be adressed in following installments and I have faith in the Honkai writers to do these plot points justice, but it won't be right now.

We are in 1.2 my friends, let the story take it's time.

[briefhottubcoffee]

Hey so I love spyxfamily, yet I have some issues with the pacing lately. I miss The Forgers like crazy and I am desperate for more Yor content. I suppose that’s what I’m most worried about, she’s not getting fleshed out enough and being used to her full potential. She’s such an amazing character!

That said, I do have complete faith in Endos storytelling capabilities. He’s created a truly amazing story with compelling characters (side characters included) awesome world building, and both light and dark themes. I think, in pointing out the slow pacing and lack of the Forgers recently, we’ve forgotten all the awesome directions the story can take with all the different plot points Endo has set up at this juncture of the story.

I feel like, based on the narrative, the story is about to reach a big climax, a change in the status quo for the Forgers. Exciting things have happened, but nothing has truly changed the status quo, or the relationship dynamics between the main characters. Since we have reached 100 chapters, and the way the narrative is propelling upward, I think we are due for a big shift. Not the biggest, but a change for sure. Just remember all that’s been set up! Here are a few things I’m fairly confident is gonna happen soon to the Forger’s in the story:

Manga spoilers obviously!

- Twilight is going to continue to try to distance himself from the family, because of the Wheeler stuff, but he will be challenged on that and face a work vs family thing. This is a big theme of the series obviously, and it will take a lot to break down his walls. But it will happen.

- Twilight will learn something about Anya’s past. Most likely related to her knowledge of classical language. Perhaps her history with other families or where she is from. I doubt he’ll learn about her mind reading, that would be huge, but I’m honestly kinda hopeful he does because I don’t want Anya to have to hide anymore. Whatever he learns will affect him and hopefully bring him and his daughter closer in the end.

- This means we will finally get the Anya backstory Endo’s been hinting at for a while! Again, I expect this to lead up to a sweet family moment that brings them closer.

- A new Yor arc. We are truly due for one and I don’t think Endo is ignoring her purposefully. It just may take a while to set up because it will be a big climax of the story. Perhaps Garden lore. A big assassination that affects her character or the plot.

- Yor will get closer with Melinda and maybe find out what the heck is going on concerning her relationship with the other Desmond’s.

- As this happens I think Garden will come into play. I don’t think they like the Desmond pro war agenda. Yor may report her findings from Melinda to them or something. This would be a continuation into that one panel of the Shopkeeper when Yor brought up that Loid was interested in their politics. They will start questioning Yor’s husband as well.

- Damian will confirm Anya can read minds, but will keep her secret. Maybe Becky finds out as well. Dimitri will come into play somehow. I would love to see Damian stop bullying Anya so severely and truly start treating her like a friend, while still struggling with his crush.

- Some Authen’s chapters with some information on their backstory. Are they related to Anya’s mind reading stuff?

- We were recently introduced to Chloe! Yuri’s co-worker and potential romantic interest. I think we will see more of Yuri x Chloe. This will hopefully help him in his crazy obsession with Yor lol.

- Yuri maaay become more suspicious Loid is Twilight (a reach I think). He may also start to like Loid more! (an even bigger reach lol).

- BUT I do think Endo is setting up a funny chapter where Yuri has to stay over and Loid and Yor will have to share a bed! That’s been hinted at several times!

- I also think we are leading up to a big moment between Twilight and Yor. Some type of physical affection. (I’d love a hug, but I’ll take some erotic hand holding once they’re forced to share a bed or something) It’s not a reach, the setup is there for a shift in their physical relationship. This will obviously change things between them. Again, Twilight will be confronted with his feelings after the Wheeler arc and struggle with his feelings for Yor.

- Yor is definitely going to realize she is in love with Loid.

- Finally, after the Wheeler arc, Handler gave Fiona some important patient files for Twilight. I think this will lead to a big break for Strix. He may also meet Melinda as Loid Forger in this capacity.

So yeah, based on basic narrative storytelling, we are due for a climax and change in status quo in sxf! I’m excited to see which way the story goes, there are so many different directions. I’m confident some of these points will happen sooner rather than later. Of course Endo could throw us for a huge loop. But he has setup all of these points and it’s bad storytelling to leave them open ended with no closure or shift in the story.

We have to remember Endo is setting up a truly big story! We should be excited about that. I think it’s fine to criticize the slow pacing (and lack of Yor) but I can only hope it is just building to something big!

[gwenyn28]

The "real" reasons why these actresses left 9-1-1

Because it is a common accusation Buddie fans have to deal with I wanted to talk about the reasons why the female love interests for Buck and Eddie left the show.

I already talked about it on twitter but due to a limited space I couldn't post links and go deeper into the stories. Therefore I will talk about this a bit more on here.

I will admit that there might have been some fans out there who were really mean and acted weird/rude towards these women. But still... there are real reasons for leaving the show, not "the Buddie fans bullied them and they couldn't handle it anymore so they left".

Connie Britton (Abigail Clark)

When 9-1-1 started in early 2018 Connie Britton was part of the main cast. She was casted as the dispatcher "Abigail Clark" so that the viewer could have not only the firefighter's view but also the dispatcher's. After an incident at a rollercoaster where Buck lost a person Abby looked up his number to ask if he was okay. They started to talk and soon after got into a relationship.

To begin with, her contract was just for one season and she left when her contract was up. Ryan Murphy said in an interview that they were renogotiating her deal because she loved the cast and wanted to come back for a couple of episodes (what we later got with the train wreck in the season 3 finale). But just as a guest star, not as a main cast again. In the meantime, for that dispatch connection, Jennifer Love Hewitt as Maddie Buckley (now Han) was cast.

It was also the plan NOT to bring her back in season 2 so that Buck could grow on his own and that this growth won't be connected with Abby anymore. After all, they just had a brief relationship and she left him at the airport and ghosted him afterwards.

(Source)

So, all in all, she was just supposed to be there for one season only. She didn't want to have a longer contract because she prefers to work just for one season of any tv show. And because she and Ryan Murphy are good friends, he agreed on this, wanting her appearance on his new show in 2018 to help him get the series off the ground.

(Source)

Tiffany Dupont (Ali Martin)

Buck and Ali met in season 2 during an earthquake where she was rescued by him and Eddie. Later on they met again and started to date. When Buck was crushed by a ladder truck and severely injured she broke up with him afterwards in the hospital. She told him that she couldn't live with him being in danger and that he wanted to continue with this risky job after his leg would be better again.

Tim stated in an interview 2019 that he loved Ali but she wasn't his first choice. Because she had chemistry with Buck and Eddie he decided to bring her back for Buck. Their relationship would have to go through the "make it or break it" because she knew that Buck's job was hard and dangerous and Ali wasn't a first responder. So, it had to be decided if she could live with that or not. In the end Tim wanted to keep her as an option for the next season as he reintroduced her but the relationship didn't make it.

(Source)

Megan West (Taylor Kelly)

Megan West was already one of Buck's former hook-ups who was introduced in an earlier season but came back in season 4 and 5 to play Buck's love interest. The possibility to give her a bigger role was there due to Jennifer Love Hewitt being on maternity leave. Therefore her character could get some screen time and she got a whole backstory.

Kristen Reidel, showrunner at that time, stated in an interview the inevitability of the couple's separation because of the people they were. Their characters were the complete opposites and even though sometimes opposites attract this didn't happen with Buck and Taylor. The break-up was the only logical conclusion.

Since Taylor's story arc came to an end with this break-up and the narrative of the show didn't demand another independant character, Megan West left the show after her story was told.

(Source)

Annelise Cepero (Natalia Dollenmeyer)

At the end of season 6 Buck met Natalia, a death doula, and started to date her. It seemed as if they had a connection (a weird one, but still a connection) and so she was Buck's girlfriend at the time season 6 ended.

In an interview mid-March Tim Minear said that he wasn't really interested in going down the road with Natalia when he took over again from Kristen Reidel as previous showrunner for season 5 and 6. He decided that it was time for Buck to stop talking about death, it was boring. He wanted Buck to live some more and to pursue joy. Buck should finally find happiness.

It seems like it was not just a creative decision. Not only storywise Tim decided to break up Buck and Natalia over hiatus. Annelise is based in New York. After the end of season 6 there was the writer's strike happening and season 7 was postponed. During that prolonged hiatus she got a contract on Broadway for "Hotel Happy" that premiered in February 2024. Therefore she couldn't join 9-1-1 again.

And since Tim was also fine with her not coming back storywise... it was mutual for her not to return.

Gabrielle Walsh (Ana Flores)

Gabrielle Walsh was a guest star and played Ana Flores, Eddie's love interest. When they first met when she was Chris' teacher, they really didn't get along. But later on, in the "Jinx" episode, Eddie asked her out and they started dating.

In an insta video (uploaded on youtube) she stated that she liked being on the show and that she loved her role, praising all the cast members. She admitted that she was sad to go but in the end everybody deserved to be with who they really loved. Some people interpreted this as a comment towards Buddie because directly afterwards she also talked about the Buddie fans and that there are no hard feelings concerning them, that she loved them.

Edy Ganem (Marisol)

Edy Ganem played Marisol and was brought in last-minute. She was kind of a hardware store fling for Eddie in the season 6 finale. Back then nobody knew if 9-1-1 would be renewed (or taken over by abc) so Kristen Reidel wanted to give every character a partner and love interest in some kind of closure if the show had ended back then. Marisol who was introduced earlier on on a call seemed to be a fit for Eddie in Kristen's eyes.

Coming to season 7 she was not planned to come back at first because Eddie was supposed to start dating Tommy Kinard. But then, as already stated above, Annelise Cepero wasn't able to come back as Natalia. This would have left Buck without a storyline. So Tim decided to switch from Tommy dating Eddie to Tommy dating Buck. Edy Ganem was free and could come back as Marisol for season 7 to play Eddie's love interest because Tim Minear didn't want both Buck and Eddie without a partner.

In an interview in April 2024 he stated that he had no clue about Marisol and her character. (She doesn't even have a last name.) He didn't want to give her screentime to explore the character and went with what he had. Or better, what Kristen gave him - the nun storyline. The idea was amusing to him and he thought it would help to learn more about Eddie.

In the end Marisol didn't stick around. She didn't even get a proper on screen break-up, just vanished after the end of the Vertigo storyline for Eddie.

It might have to do with the actress behind the character. She showed her true self more than once, posting trans- and homophobic things on social media and kind of victimized herself. Therefore it was a win-win to let her go after season 7, story- and personwise.

In conclusion: I read it very often that people say that the actresses left just because they were harassed by Buddie fans. Like I said in the beginning, there might have been some fans that have acted that way.

But the reasons I listed above where the cause for them to leave or not to return to the show - other obligations, wrapped storylines etc. And not just because "Buddie fans were mean to them".

[astrowaffles]

As Iwaoi shipper, what do you think is the difference between them and Kuroken (both duo are childhood friends and in fics tags as friends to lovers, right)? What do you think that made Iwaoi more popular than Kuroken? In your opinion if Aoba Johsai vs Nekoma, who will win in a match?

i've had a think about this, and the short answer is: kuroken is too normal.

LET ME EXPLAIN:

both kuroken and iwaoi contain individual characters who are batshit insane. in fact, arguably, the characters of kuroken are more unusual than the characters of iwaoi. however, kuroken's actual dynamic is very usual. they're childhood friends so they know each other pretty well, they have a special attack that they worked hard on, they have a silly yes-no-yes-no dynamic. iwaoi, on the other hand, know each other so well kageyama thinks they read each other's minds, they have no special attack but continue to win, and their yes-no-yes-no takes the form of ridiculous fully-fledged arguments.

haikyuu's top ships are mainly absolute weirdos, like iwaoi, kghn, and bkak. kuroken are just not weird enough, and i never thought i'd say that!

of course there are other factors:

kuroken are not often seen together, especially in comparison to iwaoi. kenma's main role is to be hinata's friend/rival, while kuroo's biggest part was to train tsukki, so kuroken moments are minimal. by contrast, iwaoi go to the bathroom together.

iwaoi's relationship has been fully explored, first introduced very early in the show and ending a loooong time later. meanwhile, kuroken - especially before the movie - get like 1 episode backstory and 1 episode current-relationship to themselves. we aren't really shown the scope of their relationship because they're too busy trying to win nationals.

the fandom loves an argument! have you ever noticed that popular ships in fandoms tend to be ships that act like they hate each other? kuroken are too domestic and therefore not as interesting.

angst potential. kind of like point 3, iwaoi are fulllll of angst potential. you could argue there's equal potential in kuroken, especially as kenma is a year below & therefore separation is inevitable, but iwaoi are just soooo traumatisable, from oikawa's not-really-injury to unhealthy mindset to moving across the world. kuroken are pretty well-adjusted. oikawa and iwaizumi? less so.

as for who would win, i have no idea! my personal bias wants to say aoba johsai, but objectively it all depends on whether oikawa would be able to 'read' nekoma. do you think he could?

thanks for the ask!