#it was acknowledged when it started and when it ended. no need for a retcon it’s just regular continuity!

[papenathys]

People need Jennifer's Body (2009) and Love Lies Bleeding (2024) to be lesbian films even if they are two of the queerest, messiest and most openly bisexual films of our times, simply because there is a certain subset of queer folks who see bisexuality as inherently less queer and more falling into the paradigm of heterosexual titillation for the male gaze. It is pretty much the same theory that governs the criticism of media like The Secret History (1992), Saltburn (2023) or Hannibal NBC (2013-2015) for queerbaiting or for "being cowards" about the depiction of same sex love stories between two men who are clearly bisexual or attracted to multiple genders in canon.

The onus of the blame for heteronormativity in contemporary publishing and media often falls upon bisexual women. I'm thinking of that God awful YouTube video by that Lavender Menace person who started speaking of how sapphic literature these days is so normative (I personally agree) before veering way™ off course to spew vitriol about how this was because every popular sapphic book nowadays is bisexual and not performing the acceptable model of lesbianism or sapphic desire.

When films like Bound get talked about in terms of being a lesbian classic, nobody mentions the fact that Corky, the butch from the film demonstrates biphobic (and by extension lesbiphobic) feelings towards Violet, the femme, and considers her to be "lying" for the male gaze and performing queerness. The film ends positively, with Corky overcoming her biases and acknowledging that Violet is just as queer as she is. It's irrelevant if Violet is bisexual or a closeted lesbian (I lean towards the latter with reference to her character), what's relevant is the policing of certain kinds of identities as being "less" queer and the refusal to accept or show empathy towards bisexual women, as we are considered beings incapable of authentic self presentation or autonomous desire. Instead, we are all just a gaslit hivemind of people operating under comp het.

Bisexual women cannot have peace when it comes to representation; people took that one sentence about Poison Ivy wildly out of context, retconned decades of her representation as a bisexual icon in popular culture in love with another bisexual woman and then gaslit bisexual folks for being "annoying" about it on social media. When Love Lies Bleeding released, on Twitter, bisexual women were told to stfu because this is a film about "REAL butch4butch dykes" (and then you see the film made by a bisexual director and the muscle mommy you love to gatekeep is a) not a butch and b) an open and proud bisexual).

Villanelle, who was openly bisexual in the Killing Eve books, was retconned by fandom into a man hating lesbian and that apparently made her more authentically queer than Eve, who remained bisexual in both TV and source material. Of course, it is easier to see the more "visibly queer" Villanelle as a lesbian, while Eve, whose relationships centre men more, and who has to have her eyes opened by the sexy assassin hunting her down, can be bisexual.

I find this a really weird pattern. The whole subgenre of "bisexual woman having a reckoning and leaving her husband for a lesbian" is corny at best and poorly equates bisexuality with heteronormativity at worst, especially because the same formula is almost never applied to show a bi woman leaving her husband for another bi woman, or a lesbian leaving behind a comp het marriage or having a mid-life awakening in popular sapphic tradpub literature; the closest to this I can find is the novel Cash Delgado is Living the Dream (2024) by Taylor Kay Mejia.

It's silly, and vapid and frankly very condescending to assume that every bisexual women in popular media is actually a lesbian facing comphet. You need to unshackle your points from separatist biphobic rhetoric on social media, even if it is dressed in shallow feminist terminology. It's literally okay to let a film or book be bisexual, and I can promise you it doesn't make the narrative less queer or feminist or subversive.

I know some nasty people will be rbing this post and talking about how bisexuals are the privileged white people of the lgbtq community etc etc, and honestly I don't know how to articulate about this issue without coming off bitter, so here is an essay by Carmen Maria Machado, whose writing on bisexuality, queerness in horror/dark fiction and on sapphic literature & culture in general I highly recommend:

NON BISEXUALS DON'T DERAIL 💗💜💙

[tobi-smp]

you know, with hindsight now what it is I really do think a more literal reading of c!techno's chat would have helped his characterization a Lot

and mind you, this was originally intended to be the case, and very well may have been intended all along even if it wasn't usually emphasized within the lore

and don't get me wrong, I Get why it fell out of favor within the fandom. it coincides with a Very storied ableist trope that demonizes DID and disorders adjacent to it, and Can be spoken about in a way that is essentially indistinguishable from it depending on the word choice.

but the thing is ! not only does it not Have to be an allegory for DID, I straight up don't think it is At All.

because we Know what it's an allegory for. It's His Chat. there's technoblade playing the game, and there's the thousands of people watching with expectations and wants that he's compelled to meet (or, at the very least, pacify through Entertainment).

and this makes much Much more sense when conceived of as Supernatural. be that spirits, gods, demons, or anything that could fill that role. separate entities that, for whatever reason, only techno can sense the presence of and be affected by.

and of course, to an extent this is true for all creators. everyone had an audience that they were meant to entertain and the choices they made were influenced by that fact.

but technoblade came in with a Very distinct set of expectations that heavily impacted the choices he was Expected to make and the kinds of stories that he could tell. he was more or less a living legend in real life just as much as he was in roleplay, and these things were inherently connected.

and it's like !

when c!technoblade says he was peer pressured into killing tubbo at the red festival he Is technically talking about what happened within the roleplay. schlatt was demanding it from him, there's a sort of pressure there. but schlatt was also the dictator they were set to kill, and techno has never had any trouble fighting people he considered a dictator before, and certainly not Schlatt of all people.

but he WAS being peer pressured By His Audience. by thousands of people, most of which were demanding blood Because It Was The Expectation, because it'd be Fun.

out of universe technoblade made the decision he thought would be the most Entertaining, and he was right! consistently he made choices that would let him do the most bombastic Spectacles possible. And It's Great. he's Excellent at pulling dramatics and making a compelling scene that give other people room to work off of. in that sense I'd consider techno an Excellent actor, and I have to imagine that he was fun to work with.

the problem is when you then have to justify it from an in character perspective, grounded in those mushy things like Feelings with characters that can be traumatized and sustain lasting damage, Especially Without acknowledging the out of character incentive.

mind you, it's not Impossible to Create a backstory that could justify it. why a character as consistently powerful and feared as technoblade would feel pressured to kill an ally by someone he not only Can kill but Wanted To Kill. why a character as seemingly secure and in control as technoblade would lash out the way that he does to perceived betrayal, and yet consistently puts no weight onto having killed and permanently scarred an ally that trusted him.

what that'd need is tragedy. a storied history of being hurt and having to survive. building up To an untouchable god from a much much more vulnerable position. Long Lasting trauma that's lead to this deep insecurity and paranoia. and that's Possible and that's Compelling.

but it's just not in the text.

not only did we never learn basically Anything that c!technoblade was up to pre-series, we actually know Less by the end than when we started because of the sbi retconning.

it's a Theoretically Possible interpretation that's technically never Contradicted by canon, but would have to be created by scratch. it's a compelling idea for a fan fic (and one I'd like to read) and it's compelling for a theoretical recontextualization of the character, but it's just not In The Text.

meanwhile, we have the video above.

we have the Objective Fact that technoblade's decision making was often subject to the rule of cool (very Very effectively) to entertain his audience.

and most compellingly, these concepts Don't Need To Be Separate. in fact, in my opinion they're Stronger when you put them together.

because the thing is. it's Difficult to imagine techno as ever being in a vulnerable position. he is just Objectively more powerful than everyone else on the server, both in real life And within the lore. How could he have ever been afraid when he was stronger than anyone and everyone combined? when we saw with our own eyes that techno could face nearly the whole server at once and win.

but he Is a tragic character, at least he's meant to be. and that tragedy makes much Much more sense as something Inward.

technoblade as a character who Needs connection, who Needs stability, who Needs security, who Needs friendship and community and Love. but Lashes Out, Obliterates to the core of the earth, because of something that's not only out of his control but that other people Cannot Understand.

how do you explain to a child that you killed their best friend because a chorus of the undead called for his blood and you (in all the glory that he'd idolized) were unable to do anything but comply? how do you explain to that child that you beat him senseless in a pit as the restless dead jeered and laughed?

That's interesting. That's Compelling.

technoblade is idolized like a god, feared like a force of nature, and in an instant cut himself off from nearly everyone who'd considered him an ally. and that seems to be a pattern, over and over and over again. he's left isolated, and in return he faces retaliation, and in return he's always Waiting for retaliation.

and what do you say to someone who wants to kill you for being a monster? that it's Fine Actually because you only did what you did because you have a curse that compels you to? that the supernatural guided you to destroy their homes and kill their people? (rip jack manifold you will be missed)?

That Doesn't Quite Help Your Case.

technoblade as someone who is beholden to this literal cycle of violence and Loses those things that could ground him, community, stability, People, as a result. who Tries to overcome this very fact (to become a better person, in his own words as per the clip above), but is pulled back into it as a consequence of his own actions.

that's a tragedy !! that Makes Sense. that allows him to be Both this force of nature that other characters have to survive And A Person Who Is Hurt By The Same Conflict.

"I'm a person!" that fear of dehumanization makes So So Much More Sense when you see technoblade as someone who Already fears himself. who fears being a monster, who fears losing control, who has faced isolation again and again and again.

and, importantly, it doesn't have to be anyone else's Fault.

by making the source both Internal and Completely External (something that none of the other characters have any awareness or control over), you can Have techno as a tragic character without demonizing anyone else Or erasing the impact that c!techno had on them.

and in that sense, it Can be an allegory for mental illness, but not in that direct "oooooh how scary he hears voices" kind of way that people fear it looks. but in that sometimes people Will do things that can hurt others while not feeling in control. anger and mania and paranoia, things that you can't always Control and yet that impact that you have on other people still Matters.

and the answer to that is, often, vulnerability and accountability.

I think a lot about technoblade isolating himself so near entirely from the rest of the server, and slowly gathering a support system Back by the end. and I Really Do think that framing of it through this lens is a Very impactful way of breaking it down.

tubbo, tommy, wilbur, ranboo, niki, I think they'd All understand not feeling in control. lashing out, maybe even feeling justified in the moment, but hurting people they care about and furthering their own isolation.

There's Something There, and it's already In The Text. it just needs to be expanded on.

and why not do that ourselves now?

[thekingofwinterblog]

You know what the most annoying thing about the Twists regarding the Elves in Inquisition was?

That all the twists, if taken on their own, would make for a really good story.

The reveals about Solas backstory and how him and his fellow God Kings rose, became decadent, warred with each other and fell, setting the stage for their transformation into the Old Gods is frankly speaking, some of the best lore that Dragon Age ever had, and lines up really well with how the world is structured while explaining how the Old Gods came to be, how the elves fell, and so on.

That the tevinter imperium when it conquered the nation of Arlathan was not the great imperial state lead by mighty mages their descendants liked to think they were, but instead a bunch of weaklings that needed years and years to take on one, measly city-state that had utterly obliterated itself in civil war.

There is so much great stuff here.

So where did it all go wrong?

The answer, is of course execution.

Inquisition overall is a great game... But man did it drop the ball so hard with the Elves that it's pretty much hard to believe that they will be able to tell a nuanced story about them in Dread Wolf.

Everything from the companions, to the world itself as the game presents , to retcons regarding mages that's there, not to tell a story about the elves, but to try and make the Templar vs mage conflict grey.

Starting with the companions, we have a great example of coming so, so close to greatness... and then falling right on it's face.

The game has two Elf companions, solas and Sera... and the contrast between them really illustrates the big picture with how incapable Inquisition is with trying to tell a nuanced picture with the elves.

Solas as a character is perfect. Love him or hate him, he is a fully fleshed out character with very clear, defined, understandable motives that makes sense to him.

And most importantly of all, his way of viewing the world is WRONG. The game acknowledges that he is wrong.

The entire story of where dragon age 4 is heading, is all about how the Dread wolf, for all his knowledge and intelligence and genuine virtues, is at the end of the day, a monster, who is willing to see the world burn to restore the Elves magic and immortality.

He is a racist, he is bigoted, and ultimately misguided. Despite all his development with the inquisitor, he does not manage to grow enough as a person that he manages to abandon his genocidal goals. And the game does not pretend othervise.

That is what makes the story of Solas rise to become the big villain of the sequel great.

There is no disconnect between the story, the characters, or the way the game wants us to view solas.

Solas is far, far more bigoted and close-minded than any of the dalish he so despises, and the game ultimately does not pretend othervise.

Which brings us to the opposite end of the elf spectrum with Sera.

Sera is a very disliked character by a lot of people, but by dalish and elf players/fans more than most.

Just like Solas, she is bigoted, racist, and ultimately misguided in her hatred of her fellow elves, whether they be city elves, or Dalish, or ancient elves.

And that frankly, would not be a problem if the game acknowledged that fact. If her character arc was about it, and either how she could not overcome her own issues, or actually managed to grow beyond them, she could have been a great character.

The problem is the fact that the game is not willing to handle this fact head on. Its not willing to come out and portray Sera as just as bigoted against her own kind as Solas is, and to treat this as a flaw.

Instead the game treats her as if her biggest flaw is that she's annoying, and not the fact that in a game that is in many ways about setting up the rise of the dread wolf, she is just as bad as Solas, just from a different origin point.

Sera should have been a mirror to Solas, both from a story point, as well as a thematic one, but unfortunately she is not.

Hell, she doesn't really overcome her racism either. The closest she comes to doing so, is basically burning out on hating the dalish and other elves in trespasser, not admitting she was actually wrong to hate them so much in the first place.

The game does not treat Sera's disdain for other elves and their culture as a problem, and it does not give a dalish inquisitor the option to tell her to go fuck herself on the topic that you are given with Solas if you really desire to do so.

You are given the option of kicking her out of the inquisition, but not actually stand up for the dalish or even city elves the way the player could against Morrigan's flemeth raised cruelty in origins, anders and Fenris obsessions with, and hatred for templars/mages in da2, or solas ideals in inquisition.

And thats a problem that really illustrates the bigger issue with the way Inquisition took what could have been a great story about the Elves and the reveals about their anceators, and frankly ruined it.

The dalish and city elvea were very thouroughly fleshed in both Origins, Awakening and DA2.

However, city elves largely managed to avoid being utterly destroyed by the narrative the way the Dalish were, for the simple reason that outside briala, we don't get much if any interaction with them at all, making them essentially a non show foe the game for the most part. They don't get a city elf inquisitor, and so we have no point of view to look at them from a pc perspective.

They got off much better than the dalish though.

Starting off with the arguably single worst thing in all of DAI is the retcon that Dalish clans, if there is more than two mages in a clan, sends off the third one alone in the wilderness to fend for themselves. This goes against absolutely everything that has ever been established about the Dalish, and worst of all, wasn't even an addition meant to demonize the dalish, instead being an addition to handwave away the obvious fact that the Dalish had a much better system than the human circles when it came to magic... Which in turn was made irrelevant by the fact the Avvar was later shown to have a much better and more effective solution to the possession question anyway.

It was, in essence, a pointless retcon, that overall only made the dalish look bad, and has now opened the door for the idea that most dalish clans acts like this, and will be portrayed so in future games.

Its bad, but unfortunately it was only the start.

The game goes out of its way to portray absolutely every single person who critices the dalish as having a point, that they brought on their own downfalls, even as they are being the most imperialistic, racist assholes imaginable, while the dalish inquisitor can only offer a token of defence for his people, a far cry from way origins allowed you to handle the same situation wheter your main ethnicity was ferelden, mage, city elf, dalish, casteless or dwarven noble.

But nowhere is it worse than the way the game handles the fall of the dales.

Now the actual lore you learn about it, is not bad. At all. I know some complain that the reveals that ameridan(and presumably other elves) worshipped both the creators and the maker, as well as the fact that the dalish unfortunately did have a bad relationahip with the rest of the world, in particular orlais, is bad storytelling, but i firmly disagree.

No the problem is the execution.

Ameridan is not wrong when he says that The Dales should not have distanced itself from the rest of the world, especially not in the face of a blight... But the Dales of his era were in turn not wrong when they argued that the Orlesians were little better than the imperium, and they would be completely right.

This is not a grey issue, its a grey and black issue.

Orlais was, and still is an evil, expansionist empire with 99% of its population living as serfs, that can be raped and beaten at will, little better than slaves.

The dales were the morally right side of the exalted march on the dales. No amount of new lore we learned in inquisition has changed that fact. We simply get the details fleshed out a bit more to add context.

Orlais was going to invade and enslave the elves anyway, as they proved through their actions against all their other, very much fellow Adrastian neighbors.

The problem is that you are not allowed to express this kind of point of view and stick to it like steel.

The characters you meet having the bigoted opinion that the dales ultimately brought on their own fate is NOT a bad thing in and out of itself... the problem is that you are not allowed to challenge that opinion the way you could challenge Lelliana's view of the dalish in origins, or the way you could tell both Anders and fenris to go fuck themselves on their extremist opinions all through da2, and ending that fuck you by killing them in the endgame.

And thats a real shame, because just looking at characters like cassandra's character development through Inquisition, you could easily have made a really compelling narrative put of a dalish inquisitor who stuck by his or her principles, and actually challenged the people they met's racist views on the dalish the way you could in origins, just with a more fleshed out and(unfortunately something way too many people just cannot emote to a character withouth) an actual voice to raise those arguments with.

I do genuinely like Inquisition, and i think it's overall a much better game than DA2... but man did they drop the ball with the elves so hard.

I feel so sorry for anyone who really got invested in the elves as their favorites factions, and i honestly don't think the elves will be handled particularly well in Dread wolf, especially as the only Dalish we are likely to see fleshed out will be the villains fighting for Solas.

[lizzybeth1986]

Hana and Madeleine: When You Reward Your Favourite Bully with One of Her Victims

Series - TRR's Alternative LIs: The "Romances" That Didn't Happen

Previous - Maxwell and Penelope: When You Like the Side Character So Much, You Gift Her A Shiny New LI

A/N1: Apologies, again, for the length of this. There was so much damn retconning to wade through that it felt like a rollercoaster to write. There is also not going to be a lot of Hana in this, as I needed to unravel so many inconsistencies in Madeleine's writing. I also didn't want this to become a repeat of my essay series on Hana (which you can read here).

CW: Descriptions of bullying and intimidation, as well as dismissiveness of the same both in canon and from fandom. A mention of the 'infertility' plotline written for Hana in TRH1. Mentions of parental abuse and neglect.

In every other essay in this series, it's been important for me to analyse the potential of the pairings TRR went for. No matter how badly PB handled them later on, one could find promise in the possibilities of these pairings, and if written well they could result in a sweet, happy ending for the LIs we didn't marry. With a better sense of balance from the writers and less vitriol and double standards (in some cases) from the fandom, they could have worked.

Not so for this pairing.

In the case of Hana and Madeleine,it would have been far far better if this pairing had never happened at all. The problem wasn't just in the development; the roots of such a pairing itself were rotten.

(White) Female Antagonists

Before I delve into the characters involved in this pairing, it's important we take another deep dive into a narrative practice we often see with PB. Their blatant favouring of specifically white female antagonists.

Now, it's not as if white men in antagonistic roles don't get favourable writing from their teams and adulation from sections of the fandom (one has to only look at some of the posts Gaius Augustine of BB, Caleb of Hero, and Kane of TE got - just to name a few). But we also often see fans of such white women decry the (very little compared to their black counterparts) condemnation that their faves get for their actions in comparison to both antagonistic and romanceable white men. Such readers often neglect to acknowledge exactly how much the narrative bends over backwards to accomodate them, in a way that they never have done for even mildly hostile/wary black and brown women. And often this is with ample support and encouragement within the fandom itself.

One cannot even pretend this is a recent development. The early books had their fair share of white-woman-adulation and you can see some of the patterns that would solidify in PB discourse already take shape in their early books.

One excellent example of this is TCaTF. Compare the treatment that white women like Helene Leventis, Hex and Zenobia Nevrakis are given, to what Rowan Thorn - a black woman - gets. Helene is allowed to escape never to return, or join Kenna, despite being the woman who killed her mentor and close friend Gabriel. Hex is well known in the series for her sadistic torture devices and for destroying an extremely prosperous kingdom. Yet, she is captured - alive - and there are two options that allow her a bit more mercy, and only one that recommends the harshest of punishments. Rowan in the meantime only betrays Kenna if the latter is an absolute tyrant to her, and letting her go if she betrays her is touted as a failure. Her loyalty doesn't ensure she will live like Diavolos' does - you can in fact leave her to die if you don't have enough diamonds/prestige points.

The Freshman was an improvement on this: even if Becca Davenport started out as a classic college mean girl, her redemption arc involved her needing to work to regain trust with the group and her best friend Madison, regardless of the MC's fondness of her. Her housemates immediately set her straight when she lashes out at them at the beginning of TS, and Becca has to plan for almost a-book-and-a-half to get her friendship with Madison back to normal again.

Sadly, this is something that rarely ever happened again. Discrepancies in character treatment became more and more obvious as the years passed. Books where black and brown women behaved even mildly unimpressed or catty with the MC, showed them either suffering grievous fates or written out of the narrative (eg. Scarlett not even getting a proper future in the VoS bonus scene) or being mistrusted and misunderstood constantly by the MC and their friends (Aurora). Books where white women could cause grievous harm depicted them being let off without so much as a slap on the wrist (eg. Aunt Mallory of RoE being rewarded with a happy life, a man and reconciliation with the niece she tried to kill and the daughter she emotionally abused).

(Screenshots from SavageLordBarlow's YouTube channel)

Perhaps the worst and most obvious case to date was that of Vanessa Blackwood of MoTY, who called a young child "guttersnipe" within minutes of encountering her, outed a lesbian teacher, encouraged her son's bullying, provided legal counsel to the MC's ex husband just to see the woman suffer, and engineered a plot to frame the MC for theft so she could lose her job. Once Vanessa had crossed her limits, PB ensured they laid on the sympathy narrative thick, having her show sad faces when the MC scolded her in a paywall scene, punishing only her brown lackey (both the white people involved - Vanessa and Guy - are never named when Tallulah is exposed, even though she literally stole jewellery and framed the MC for them). In the series finale, Vanessa was rewarded with a cushy diamond scene where the MC can choose (in what is the understatement of the century) to call her "classist and a little bit racist" - all she is given at the end of the book is an extremely softball form of criticism.

Compare this to Xanthe of ACOR, who had far less power, who was repeatedly slut shamed by the MC and others for doing her job, and whose end was met in a "comical" scene that implied she'd been sold into sexual slavery while two black members of her scholae gloated over her plight (in a manner so uncharacteristic of them that even players who didn't necessarily like Xanthe were shocked. I would highly recommend you read @cassiopeiacorvus' excellent essay on her, "Xanthe: Courtesan, Rival, Pawn").

In an essay I'd written years ago, I'd noted the following:

"Check out who the narrative rewards you for treating well, as opposed to who will be made to support you either way.

You're allowed to show basic decency to a black or brown woman. But you're expected to show kindness, understanding and empathy to a white woman, and richly rewarded if you do. In some cases you will also face consequences if you don't. (Fandom - take note of the difference, and be sure not to forget it)."

Madeleine Amaranath is probably one of the best examples of this - with blatant retcons, unfounded adulation and obvious pandering lasting over five books.

Rules of Engagement

When we look at the full cast of TRR, we find at least six characters who are callbacks to its sister series, Rules of Engagement. Leo, Constantine, Regina, Bastien, Madeleine and Rashad (the last one was an addition from TRR2 onwards). Part of TRR's appeal as a series was its ability to reference the earlier one through these characters, but this time from the PoV of Leo's younger brother instead.

Madeleine appeared in only 2 chapters in RoE. She was Leo's fiancée, in an arranged match that not only their parents but their citizens expected, unfazed by the "commoners" Leo brought to his bed and secure in the knowledge that no matter who he slept with she would eventually become his Queen. Leo dashes these expectations, however, by abdicating his claim to the throne - whether the RoE MC chooses him or not.

At this point - when TRR was barely even a concept - Leo was a clear fan favourite. Players liked the idea of romancing a rogue prince from a fictional European country; it meant they could revel in the luxury of touching royalty, while being away from all the hard, unsavoury parts. The Madeleine angle provided them with a rival to fight off, and at the time that was all that mattered.

Was Leo's behaviour in RoE, towards both the RoE MC and Madeleine, dishonest? Definitely, but not many seemed to care much at the time and it hardly created a dent in his fanbase (most of the criticisms against him and his cheating ways and irresponsibility would emerge later - when the Leo stans became Drake stans, and it was more convenient to badmouth Liam's family).

Jeffrey Herdman, a Junior Game Writer with Pixelberry for over 7 years, was a part of both the RoE and TRR teams, and proudly admitted in the TRR2 pre-release interview, to being the one in charge of writing Madeleine:

Q: Very funny. (Just so we're clear, Jeffrey is joking. Sort of.) Out of curiosity, who's your favorite character to write in The Royal Romance?

Jeffrey: Madeleine. It's fun to write someone who's constantly trying to spin a situation to their benefit, and making power plays along the way. I've actually been writing for Madeleine since her appearance in Rules of Engagement: Book 2, so we're practically besties.

Excerpt from The Royal Romance: Book 2 Interview

(If we were to compare this adulation of the character from Jeffrey, to the person who wrote Hana - head writer Jennifer Young, you'd find a surprising difference. In this very interview Jennifer talks about enjoying the process of writing Hana, but pointed to Drake as her favourite LI - "In my personal game, my love interest is definitely Drake, and I totally make Kara write him just so I can read his scenes and enjoy the romance. =)".

Perhaps if Jennifer had spent less time fawning over Drake, and more time doing Hana's story justice, that LI wouldn't be stuck in a situation where the team constantly erased her experiences and history to benefit their favourites)

When you look at Jeffrey's open admiration of Madeleine, and trace her fairly choppy and largely incoherent narrative journey through the books...a lot of things begin to make sense.

TRR1 - Would a TRR1 Madeleine Have Been A Better Fit for Hana?

When you look at the first book, you can tell that the possibility of any of the other alternative pairings besides Liam and Olivia wasn't really entertained. There is no buildup at all for Maxwell x Penelope, Drake x Kiara - and not even a single direct interaction between fellow competitors Hana and Madeleine. In fact, TRR2 often had to cover up for the lack of interaction in certain cases by making the alternative LI come up with justifications for why they weren't approaching the LI before.

There is maybe one implied interaction between Hana and Madeleine, that I don't think even the writers paid much attention to at the time. In the pie baking scene in Applewood, Hana is assigned to Madeleine's team if the MC doesn't take her along. Whichever group Hana is in, she is in charge of the pie design.

In the diamond scene, she takes the MC's suggestions and gives her advice on the amount of apples required for the filling. Given that she gives credit to the MC (in front of Queen Regina) in this option, and doesn't not do the same for Madeleine, it is likely that she was allowed to decorate for the other team, but not with much input from the captain.

This pie has a rose design, which is beautiful but lacks the intricacy and the challenge of the Cordonian Royal Seal, which the MC can suggest in the diamond scene. It's possible that by default, Madeleine handled the baking herself (since Penelope couldn't even boil water and in fact is so distracted she unwittingly helps sabotage the pie), and Hana was assigned strictly decoration duties. But even these possibilities rely on conjecture and guesswork, with no real dialogue or interaction shown.

There are no other scenes where the two women talk or do anything together. Hana may be present in one or two scenes where Madeleine is speaking (such as the dining scene in Ch 17 where Madeleine tells the court ladies about the upcoming Engagement Tour), but the two never directly engage with each other. It's more likely that (like Maxwell and Penelope, or Drake and Kiara), the writers may have thought of Hana and Madeleine only in the second or third book - more likely the third, but there are possible hints in TRR2 if you squint.

Hana is an interesting anomaly among the cast of TRR. She is both Cordonian and foreigner; the ways of the Cordonian court are, in equal parts, both familiar and confusing to her. This serves as an double-edged advantage to the MC - Hana is both skilled and knowledgeable enough to ease her into the culture, and isolated and vulnerable enough for the MC to step up as a hero on occasion. We also find out in Lythikos (TRR1 Ch 7) that she was so deep in the closet that she couldn't fully articulate her struggle to love the romantic English noble who wanted to marry her, in the presence of the woman she was slowly beginning to love. Within the competition itself, Hana is shown having a hard time finding people who will associate with her, often shown left out of events and her yacht party abandoned during the Regatta. The broken engagement could have a hand in making her appear to be struggling in the competition, but tbh Olivia is the only one who brings it up. Overall, she does well in the competition, but gets little credit for the same.

Madeleine is the polar opposite of this. Even though the ladies of the court initially view her with a mixture of pity and respect (due to her broken engagement with Leo, and her position as a Countess and winner of the previous season), their views on Madeleine once she enters the competition range from anger (Olivia), to speculation (Kiara and Penelope), to indifference and later suspicion (the MC).

Madeleine comes into the social season with several advantages: her pedigree and her years of experience at court. Both Bertrand and the MC note that Madeleine hails from a "powerful family" and "is immersed in the intrigues and maneuverings of courtly life", and therefore the MC is cautioned by Applewood to pay more attention to her than to Olivia. If the MC fails to win court favour, both Penelope and Kiara show allegiance to Madeleine. Where Hana is shown to be vulnerable despite her skills, charm and intelligence, Madeleine is meant to be viewed with respect even by her peers - and expected not to return that respect to others unless they're the king and queen.

I often view the Madeleine of Book 1 (and early TRR2), and the Madeleine of the latter half of Book 2, as two separate people (more on that in the next section). Early Madeleine was depicted as a clear threat. While she does nothing too out-of-pocket during the competition, her threats to the MC once she is (optionally) the favourite frontrunner, her singular focus on only the king and queen (and largely ignoring the Prince), and inability to respectfully lose, ensure that the reader registers her as a figure of danger early on. The first time she (optionally) faces an obvious loss and sees the MC crowned as Apple Queen, Madeleine tells her to "savour these moments. You may never hear the phrase again".

Her very extreme attempts to belatedly win Liam's favour after ignoring him the entire season (we later find out that she barged into his sleeping quarters the previous night and suggested the arrangement that Liam speaks about in TRR2), earns her speculative looks from the MC and wariness from Liam himself. Given that the outcome was so different in TRR2 but the buildup to said outcome was so rushed and chaotic, there is a 70/30 chance that Madeleine's buildup in Book 1 was meant to highlight her as someone with the capability to harm the MC, rather than just as a red herring. At the very most, Book 1 would highlight her as powerful, with the intention that Book 2 would follow through with showing her as a cog in a very vicious machine.

But because Madeleine's actions in TRR1 don't result in any direct harm, it's honestly hard to envision her as dangerous beyond the subtle threats (that people could brush off as basic rivalry) and rank classism.

Would Hana's pairing with the Madeleine of TRR1 have worked? It's equally hard to say. If we take only Book 1 into account, and ignore the very real possibility of a threat that Madeleine represents, there's a sliver of a chance that such a pairing could work...if Madeleine works on herself. At this point she hasn't manifested as a direct threat to Hana in a way that, say, Olivia has - and all the MC has at this point are theories and speculation. You'd have to probably change half of Madeleine's characterization, but it could be workable if the foundation for such a pairing was mutual respect from the start.

Still, when you take into consideration that Madeleine being involved in the plot against the MC was a very legitimate possibility, it's hard to see any opening for this pairing. Even Penelope - whose coddling from the narrative knew no limits - was no longer entertained as a potential alternative romance for an LI the moment her role in the plot was uncovered. If any harm was done to the MC, and Madeleine was found to be behind it, there is no way Hana would even be allowed to entertain the thought of her as an alternative LI at all.

You see - hurting Hana is no big deal. But hurting the MC and still getting an LI to show interest in you? Now that would be beyond the pale!

Madeleine: A Red Herring...Or A Villain Retconned?

As I have mentioned earlier, there is one writer - who has seniority in the company because of his many years there, who has always been in charge of Madeleine's writing, and who has always loved writing her. On close inspection one can say for certain that Jeffrey Herdman had a fair bit of sway in the team itself, especially from the fact that one of his weirdest writing suggestions - the MC's supposed obsession with hats - was retained in the books as a gag for a very, very long time (TRF finale livestream interview). When you take both Jeffrey's sway in the team, and the writing of Madeleine in TRR2 and 3 (and beyond), one can make several educated guesses about what Madeleine was built up to be, and how that changed midway.

Plenty of fan posts written in the gap between TRR1's finale and TRR2's release, took for granted that Madeleine would have some role to play in the plot against the MC. While one may assume this was due to "jealousy" from players or "hate for a bitchy character", there were enough signs in TRR1 and 2 that this was the route the narrative was initially planning to take with her.

The MC does voice suspicions of Madeleine in the first book - mostly after Madeleine herself voices threats to the MC during the Apple Queen ceremony. Madeleine also looks apprehensive at the (optional) public support Liam shows towards the MC at the Beaumont estate, and even shows him a suspiciously huge amount of attention at the Coronation. The MC even confronts Madeleine during the Coronation festivities when she gets a note threatening her to withdraw from the competition, believing it was sent by the latter. But beyond this, Madeleine's own words in TRR1 often sound ominous and laced with subtle threats. Still - going by just TRR1's evidence, Madeleine could still work as a good red herring, since she's not exactly crossed a clear line with anyone yet.

TRR2 seems to go in one direction when it comes to Madeleine's arc, then makes a sharp pivot in the opposite direction post Chs 7 and 8. The first half of the book has both the MC and Liam regard her with doubt and suspicion, especially when the MC learns that Madeleine had come to Liam's rooms the night before the Coronation, and insisted he continue the relationship with the MC on the sly while making her the queen. The book presents several contrasts between Madeleine and the MC, presenting their possible ruling styles and envisioning how each woman would fare as a future queen.

In a diamond scene in TRR2 Ch 4, Liam asks the MC how she would handle a plate of curry chicken falling on someone - an incident that has already occurred in some playthroughs to Madeleine (who got recognizably frustrated and called the whole episode "a disaster"). In contrast, the MC can claim she would either defuse the situation with humour or help clear the mess - both of which establish that unlike Madeleine the MC knows how to adapt to different situations, and prefers to find a solution rather than take her frustrations out on everyone else. Liam points out the differences between the two women as the MC "having perspective... every gaffe isn't a disaster".

Multiple scenes in the story focus on Madeleine's rigidity, her inability to adapt, her hunger for power, her belief that becoming queen gives her a free pass to be a tyrant, her hubris that allows her to outright harm some of her ladies in waiting and believe she will never face consequences, and her overall lack of real impact during her own engagement tour (only if the MC fails miserably does the Italian statesman Francesco even mention Madeleine). A lot of this buildup indicates that she won't be as effective a queen as other characters claim she will be.

Her overall behaviour in the first half of TRR2 seems to highlight overconfidence, and a willingness to overstep every possible boundary in the belief that nothing will now prevent her from getting what she wants ("the best part about being Queen is that I don't have to explain myself to anyone. Including you."). Even though she isn't queen yet, both Madeleine and everyone around her behave as if she has already been crowned! That kind of overconfidence - especially from someone who should know better than anyone that winning the competition doesn't necessarily mean she'll be crowned - makes more sense when she is aware that there are powerful people (like the former king and her aunt, the former queen) to back her.

There is also the fact that Penelope's involvement in the plot never got any proper buildup. There is just one scene, in TRR2 Ch 6, where she speaks about feeling uncomfortable at parties and balls, and how much she hates crowds. The reveal of her being the culprit is in Ch 7; the reveal of her social anxiety is in Ch 8. Before this, you have zero indicators of her being involved in this level of deception - even though her history of "social anxiety" should have ideally made that kind of subterfuge difficult, and she should have been able to leave a few tells, signalling her guilt. It is very clear on rereads that Penelope's involvement in the plot was a last-minute narrative decision.

But perhaps the strongest evidence that TRR2 was originally meant to establish Madeleine as part of the plot against the MC, is a line from the very first scene of the book. When a confused MC asks Bertrand how it's possible for Liam to break his engagement, Bertrand mentions a constitutional provision:

"The king is able to change his selection in specific cases for the good of the nation". The MC being proven as framed and unfairly disgraced achieves very little in this context, because the focus is clearly on the king's final choice. This means that the engagement cannot be voided on the basis of the MC being innocent, but on the basis of Madeleine being unfit for the role.

What happens to this "constitutional clause" once Penelope is declared the culprit among the court ladies rather than Madeleine? It disappears completely. If she was really meant to be a red herring from the start, the team would never have added this line in the first place. Nor would they have left the "buildup" for Penelope's anxiety till Ch 6, just one chapter before her reveal. If Madeleine was really meant to be a mere red herring from the start, there would have been more than just one crumb presented for that trail.

It is highly possible that the team had plans for Madeleine to be involved in the plot, or in something shady enough to justify breaking the engagement. It is just as highly possible that Jeffrey, the writer in charge of her character, allowed his favouritism for that character to dictate his writing of her, and convinced the team to change the trajectory of the story to benefit her.

Hana and Madeleine - The First Half of TRR2

Most of the interactions between Hana and Madeleine in TRR2 are overshadowed by one incident in Ch 7 - the one most popularly known as "the chocolate incident". Madeleine was already not too popular as a character when this scene came out, but her admission that she wanted to break Hana crossed enough of a line that a number of players would bring it up as a reason for why they couldn't ever like her, no matter how often she was retconned in canon.

A common misconception made about the "chocolate incident" from Madeleine lovers and haters alike, is that it's viewed as a singular episode rather than as an escalation in an ongoing pattern of threats that Madeleine was already making to Hana.

Viewing it as an isolated incident is precisely what allowed both Madeleine stans, and the canon narrative itself, to severely downplay what Madeleine did, and what she openly declared she would continue doing to Hana. Therefore, it is essential to look into Hana and Madeleine's interactions before Ch 7, as well as the context behind Hana's return to court and the very real and grave threat that Madeleine represents to Hana specifically.

To do this, we must first look into how Hana's return to court (after her parents forced her to leave post Coronation) is depicted. There are two versions of this story - Madeleine's version...and the truth.

Madeleine's Version: "If it wasn't for me, she'd still be on the other side of the world. I've heard dogs remember those who feed them. I hope you'll keep this in mind and remember that dear Hana is here by my personal invitation". This is a half-truth at best and ironically, this is the version Hana sticks to. She is never allowed to tell us differently.

The truth, as said by Liam to Hana post Coronation: "I am the King of Cordonia. I'm sure Lady Madeleine knows that if she wants to keep our engagement, she'll have to give me something. Perhaps I can convince her to make you part of her court". Hana never gets to tell us this. That honour is given to Drake!

Even after the MC (optionally) gets to know this truth, she never talks to Hana about it, and Hana is never allowed to veer from Madeleine's narrative even in private. In the process, Madeleine gets to use her half-truth as a form of blackmail - threatening Hana at least twice to send her back to China if she paces even one toe out of Madeleine's arbitrary line.

In TRR2 Ch 4, Madeleine is shown antagonizing her entire court (ordering Penelope to get lemonade and comparing her to dogs, telling Kiara to exoticize herself by not speaking in English [which itself has colonial/Orientalist connotations]). But none is more ominous and disturbing than her subtle threat to Hana before introducing her to the two suitors:

Being sent back to her parents is a terrifying prospect for Hana...for two reasons. For one, Hana is committed to being there for the MC, to contributing to her investigation (and she does! Massively. Perhaps more than anyone else in the group). For another, she is just beginning to realize what a damaging environment her parents' house is, and she also knows they are already growing suspicious that she hasn't found another suitor yet. By the end of this conversation, Hana is visibly distraught... to the point of needing moral support (something she rarely asks for herself).

Remember - this is an arbitrary rule Madeleine comes up with, that applies only to Hana. In the same conversation, neither Kiara nor Penelope are placed under this kind of pressure. Though Penelope claims in Ch 6 that her parents won't allow her to come home if she doesn't get a suitor, Madeleine doesn't levy any other threats of this nature on her (she harms Penelope in other ways).

Madeleine is aware that Liam was the one responsible for Hana's return. It is implied that she is also aware that neither Liam nor Hana can say this in public. By this coin, she'd know that she shouldn't be the one who can take a call on sending Hana back - Liam is. Yet she issues this sort of a threat, and worse still...is allowed to get away with it through Hana and the MC's silence, both in private and in public.

Unlike the MC and Olivia, the other three ladies of the court are present in official positions to the future Queen, and are expected to publicly pledge loyalty to her. The narrative of TRR2 alone seems to give the King's fiancèe powers and influences similar to an actual Queen Consort's. And Hana, Kiara and Penelope aren't just random "court members" - they are Madeleine's ladies-in-waiting. They cannot even speak to certain people unless she approves of it (Ch 1), she orders them around with the disrespect that many in that nobility reserve for their servants (Penelope in Ch 4), she publicly humiliates and insults them if they make a single mistake (eg. Penelope not getting a metallic dress in time for the bachelorette), and she can get away with causing them grievous harm (Hana). There is no actual point to any of this behaviour - it achieves nothing and (by the narrative parameters of the third book) is actually foolish, because Madeleine's actions could cost the royal family their relationship with the Great Houses. Neither the MC nor Liam (the actual monarch), would be allowed by the narrative later to abuse their power the way Madeleine can, in a position that isn't even hers yet!

It is easy to view Madeleine's interactions with Hana and Penelope especially, as just some regular mean-girls shit, with all the excuses, justifications and crocodile tears that the fandom can shower on said white/white-passing mean girls. Canon itself encourages this reading when they use the word "hazing" to describe what Madeleine put Hana through. But when we speak of Madeleine's behaviour in her engagement tour that way, we miss a very important aspect of her dynamic with these two women. They are no longer competitors or mere allies. They are not just people she knows in court.

They are not Madeleine's equals. They are her employees. She is directly in a position of immense, unquestioned and unchecked power over them. Publicly, she has the authority to invite them into her court, and to throw them out of their jobs. It is from that lens, that we must view her behaviour, especially in Ch 7.

The "Chocolate Incident" and Its Aftermath

Another reason to believe Jeffrey's favouritism for Madeleine allowed for an actual change in the story, is the way this above scene - and the ones preceding it - were handled immediately in both the immediate and long-term aftermath.

Often dubbed "the chocolate incident", this scene takes place in Italy (the first stop of the engagement tour) during Madeleine's bachelorette. For anyone who has forgotten the incident, Madeleine's ladies-in-waiting are supposed to organize different fun activities for her bachelorette, and the MC uses each event as both a PR exercise and an opportunity to check the credit cards of the ladies.

The final activity is Hana's, an intricately-planned chocolate fondue party complete with chocolate-themed games and treats. If one reads too much between the lines, one could maybe notice the tiniest sliver of a romantic hint in Hana's conversation with the MC over her confusing an actual bachelorette party with the show The Bachelorette (It is just as possible tho - if not more - that this is a comic aside pointing to Hana's lack of exposure to modern media).

However, things take a turn for the worst at this juncture. Madeleine heavily berates Hana for not knowing that she is "allergic to chocolate", accusing her of an attempt to murder and even threatening to remove her from her position in court. This leaves Hana so distraught that she ruins her own dress in the process, and is damn near inconsolable. The MC can - if she chooses - comfort Hana along with their friends. At the end of the night, a heavily drunk Madeleine gleefully admits she lied about the allergy and gloats about wanting to keep hurting Hana till she breaks, because she "wants to have a little fun".

She claims, when asked why, that it's because "everyone wants something, but the nice ones like Hana don't even have the decency to act like it". Which sounds like the sort of sick logic that fandom often happily accepts from their favourite white antagonists, where they can project whatever sob story they want to make such a reasoning palatable. Such attempts ignore the fact that Madeleine is torturing someone for supposed "duplicity" when she is herself well-known for being insincere.

Later, when it was convenient for the fandom to hate on Hana, she would be either blamed for the torture Madeleine put her through (because she was "weak" or "too nice", or that she was "spineless and deserved this treatment". I even saw posts that claimed it "wasn't that bad" (in the case of one particularly memorable instance, a Madeleine stan went so far as to say, agreeing with a post expressing a fondness for Madeleine: "...before anyone mentions the chocolate prank: Did Hana die, tho?"). Some also tried to reason that it was fair for Madeleine to target Hana, either to showcase her "wiles" or because of her sad sad childhood.

As I pointed out earlier, every single one of these takes tend to downplay Madeleine's bullying/abuse so that it sounds more like a schoolyard squabble that happened only once, rather than a person in power consistently placing their employee's job under threat, with the stated intention of harming them mentally and emotionally on a regular basis, until they experienced a breakdown. The center of this conflict isn't about different people with different approaches. Nor is it about court maneuvering or wiles because honestly, nothing worthwhile was achieved through Madeleine's abuse, and she had no purpose for doing those things beyond deriving a sick pleasure from other people's suffering.

It isn't about nice vs tough, nor ambitious vs generous, nor "naive" vs "jaded". It is about a gross power imbalance. An imbalance that results in the exploitation of the more vulnerable party...which is later brushed aside by the one who claims to be the latter's "friend" like it means nothing.

Structure wise, one can see striking similarities between this chapter, and TRR1's Ch 7, where the MC can view Olivia in a new light in the first half of the chapter, but be disturbed by her vindictive nature by the end of it. Here too, the MC comes into the investigation of the credit cards fully expecting to see Madeleine as the culprit. Over the course of the evening she finds Madeleine treating her ladies-in-waiting badly, but also calling out the press for targeting only the MC but staying silent on Tariq's involvement (ironically, Madeleine herself didn't exactly believe the MC if she tells her she was set up). She is also shocked when she realises Madeleine isn't the culprit at the club. Still, the court is given a rude shock when Hana is accused of putting Madeleine's life in danger.

Clearly the aim of such a chapter was to make the MC soften a little towards Madeleine, while still keeping some of the antagonistic tension. However, the more direct impact of Madeleine's huge ego trip on Hana made the harm far more visible than Olivia's jibes towards a woman who was far away...plus the scenes that followed in the former sequence centered Drake, far more than the ones in the latter that involved comforting Hana.

Madeleine's bullying also clashes - quite conveniently - with the reveal of Penelope's betrayal, so that the latter overshadows what Hana went through altogether.

It is important to note at this point that the MC is the only person not directly tied in an alliance to Madeleine (besides Olivia and Maxwell, who are then missing at the fashion show backstage scene in Paris) who knows Madeleine's intentions towards Hana. She is the only person present at the event in Paris, who knows that Madeleine intended to continue harassing her until she broke. Hana herself is never made fully aware of this, and if she is left in a vulnerable, dangerous position while on her mission to support the MC's investigation - then the fault lies to a large extent with the MC for keeping silent, rather than protecting her friend from someone who fully intended to hurt her.

I say this because in France (Ch 8), the MC's exposing of Madeleine is by choice, rather than default (this essay has a full breakdown of said scene). Moreover, the option where the MC can "expose" her will result in Madeleine lying about the act being an "official hazing" she does for all her ladies-in-waiting. Not only does the MC neglect to contest Madeleine's claims (or even tell Hana the full truth in secret), she also parrots Madeleine's lie in a conversation with Adeleide in NY, as if it were the truth (Ch 14).

Remember how I mentioned Jeffrey - the writer who was in charge of Madeleine's scenes and sang her praises in TRR2's pre-release interview? His influence here is obvious in the way the narrative sharply pivots away from Madeleine's characterization so far, to engage in a full-blown pity party.

The abuses of her power (towards Hana and Penelope in particular) stop. The parallels that canon makes between Madeleine and the MC as future Queens, stop. No reference, ever, is made of her actions before Ch 8.

For over seven chapters, Madeleine largely fades into the background - sometimes there will be scenes where she is present, but without any dialogue or actions. Sometimes she may make a catty move like getting the MC to pick up her wedding ring, but from a safe distance. Because she doesn't openly antagonize anyone or show up much in Chs 9-15, the sense of distance could allow some to soften in their memories of her. Especially when the only strong reminders of Madeleine in these chapters come from Adeleide, her mother.

Adeleide is an important cog in the machinery that resulted in the retconning of Madeleine's character in TRR2. Without her, Patriotic!Madeleine wouldn't have become canon. Adeleide sets the stage for this extremely inaccurate reading of her, with complaints on two occasions about how Madeleine is "putting too much pressure on herself" and working too hard. Which contradicts her very real actions in Applewood and Italy, where she regularly antagonized her entire court and where she doesn't get much notable approval from foreign dignitaries (Signor Francesco) unless the MC is that bad.

The narrative, at this point, expects us to view her with sympathy, as someone who could have been "an excellent queen" (Adeleide's words, not mine). The stage is clearly set so that we pity her when Liam calls off the engagement and she loses this position, that we can see her loss as "unfair". It ensures that there is an overflow of sympathy for Madeleine's plight, especially since she had already lost her chance to become Queen once before with Leo. By this point, many readers had actually forgotten the "chocolate incident" altogether, and were more than willing to view Madeleine as a patriot who wasn't given her due. A description that, ironically, more accurately fits Hana.

Is Hana Really Just A Nice Girl who Never Fights Back?

As I mentioned before, Hana's "niceness" and "weakness" were sometimes presented in fandom as justifications/reasons for Madeleine's bullying of her, often in an attempt to shift blame or make it sound like Madeleine's stated "reasons" (in TRR2 Ch 7) to hurt her were legitimate. Almost as if to say that Hana was targeted because she presents herself as an easy target.

To be clear, I don't subscribe to such a train of thought myself. Different people react to bullies and abusers in different ways - and not being able to push back aggressively in tense situations doesn't make anyone a lesser person. In fact, canon itself doesn't mind providing a "weaker" person protection against someone like Madeleine...as long as that person is Penelope. So we cannot even claim that Hana's "weakness" is why Madeleine targets her, or why the MC shouldn't have to protect Hana better.

Canon also doesn't help much in this respect, especially with their preferences for the meaner white women. In fact the narrative doesn't even allow Hana the chance to speak up in private against Madeleine's half-truths about her return, and she is made to easily accept Madeleine's "hazing" excuse. Let's not even get into how she speaks about Madeleine in TRR3. Additionally, no one in Hana's own friend group provides adequate protection or support - they stay silent where it counts.

But is Hana really that incapable of fighting for herself? According to the finale of TRR1, no.

Even though the scene is hidden behind a paywall, Hana's pushback against Olivia's treatment of her during the social season is strong, decisive and done entirely on her own initiative, with no prompting or involvement from the MC. She is honest about the ways in which Olivia has hurt her, but also makes it clear that Olivia's opinions and vitriol no longer matter - effectively reclaiming her own power in the process.

Such a scene is a clear indicator that Hana is capable of pushing back, and isn't afraid to speak truth to power - as early as TRR1. While one could say that as a diamond scene, it is possible that it can't be fully shown as canon - there are ways the writers know how to incorporate such things. Often, they have managed to write in similar scenes or the same information into free scenes later on (eg. the selling of Liam's bachelor party photos, which wasn't even that important to the story of TRR2). Hana could have had a free pushback scene with Olivia if the writers really wanted to give her one.

That aside, it's safe to say that there is a precedent for Hana being able to fight back before TRR2, and canon could have found ways to ensure that she could safely do so with Madeleine too. Or at least have more protection and care from her friend group, if her position as lady-in-waiting prevented her from speaking out. Penelope got to demand protection later on, after all - and she wasn't even our friend.

We must also take into account the positions of power that Madeleine, Olivia and later even the MC hold. Madeleine is a countess in line to become queen in TRR2. Olivia is a duchess, and the MC herself is given this honour in Book 2. Hana - despite her skills, knowledge and charm - never gets lands, nor a title unless she marries the MC. Hana's experience in Cordonia isn't just about "other women" being mean to her with the MC being "not like other girls" - all three of the above women are in positions of power over her, and even the nicest of them uses her more often than she helps.

TRR2 doesn't exactly build Hana and Madeleine as a pair. In hindsight one can read romantic hints into Madeleine's mocking usage of the word "darling" around Hana, Hana's attempt to replicate The Bachelorette for Madeleine's bachelorette party, and read parallels into both their toxic family histories (particularly Hana with her mother and Madeleine with her father). But there is no actual romantic content there that one could find with the other three pairs, which leads me to believe that Hana and Madeleine was only taken seriously as a romantic prospect in TRR3.

How did Madeleine become the final romantic choice for Hana, and no one else? Because the relationship was never made Hana's benefit - it was for Madeleine's. Given all the evidence laid out about TRR1!Madeleine, TRR2!Madeleine and including hints that she may have actually been written as the villain at some point, it's more likely that Madeleine's main writer ensured some changes in the writing of his favourite character midway into the story, resulting in her staying longer in court and several retcons that painted her as a tragic heroine and completely erased any actions that contradicted such a narrative.

This specific narrative also seems to draw upon a narrative trope that is seen sometimes in certain stories featuring queer couples - the Armoured Closted Gay. It is employed often enough, mostly to show the pervasiveness and immense pressure heteronormativity can have on some queer people - that sometimes, they hate themselves for not adhering to the norm and therefore project that self-hatred onto people like them. PB had done a similar kind of story in TF and ILITW - with Zig and an aggressive teammate Manny (but with discussions on sexual harassment and about being closeted) and with Lily Oritz and her crush Britney. Unlike Zig's and Lily's cases though, this sort of narrative hardly centers on Hana.

Hana is hardly treated as a person in her own right in this narrative. She is treated as a "consolation prize" for Madeleine's "good behaviour" and "hard work". Which is still a really, really hard story to sell when one of the characters states outright that they'd abuse their power over the other till she breaks.

So how does PB get back from that kind of cruelty, and convert it into an actual romance?

Madeleine in TRR3 - The Royal Retcon

(In order: MC complimenting Madeleine to Godfrey (Ch 3), response to Madeleine's "send my regards to Hana (Ch 9), Madeleine asking for a dance (Ch 16), Optional response about memories of Madeleine's bachelorette in Hana's Vegas diamond scene (Ch 16))

By gaslighting an entire fandom, of course.

TRR3 requires us at the very start to do two things - to recruit Madeleine into replacing Justin as our press secretary, and to convince her family to join the Unity Tour so that Cordonia knows its nobility stands with the Crown. Until this point, we've only had hints of Madeleine's so-called "patriotism", mostly from Adeleide. TRR3 Ch 3 goes full force on this reading: having Madeleine claim (in the most positive option) that all her efforts to become queen was "for my people...it was always for Cordonia", having Hana claim that Madeleine "would mostly likely take a bullet for Liam... because you'd never leave Cordonia without a King". Coupled with Godfrey and Adeleide's toxic family dynamics, the story is set to push forward a narrative where we are meant to sympathize with her and preferably downplay her behaviour from the previous book.

Throughout Madeleine's tenure as press sec, we are expected to laud her "work" - even though the truth is that she makes our work harder by giving us heavy folders and 100 note cards of materials just minutes before our meetings, and leaving out important information (like Zeke) for us to scramble about and find. Where during her time as future queen, her ladies-in-waiting were expected to have every detail perfect as per her desires otherwise face her wrath - as our employee, we are expected to appreciate efforts alone, and be lenient when she doesn't follow our rules (eg. wearing gold for our bachelorette when she was supposed to wear muted colours, trying to sneak in a white dress to our wedding). Most of our responses to her "work" involve fulsome praise, or at most a very light criticism that still claims she's good at her job (she isn't). And it isn't just the MC - even Justin (who recommended her) and Hana are made to sing her praises.

Having canon claim Madeleine does a good job when she actually doesn't is... frustrating, but not as awful as the retconning they do for her past behaviour. But it is part of a pattern that whitewashes Madeleine altogether so the readers can consider her deserving of the rewards that the narrative so badly wants to give her, whether her actual conduct matches up to these fulsome praises or not.

One clear tactic that is used to achieve this, was to have the person she harmed the most, speak of her in glowing terms. In TRR3 Ch 3, you have at least two instances during the "Cordonia's Most" game where Hana uses the game to compliment Madeleine. Here, she compliments Madeleine on knowing how to "charm a crowd...her confidence and poise", and claims her to be very patriotic. If the MC refuses to coddle Madeleine during their private conversation, the onus to be kind to her rests solely on Hana's shoulders, where she is required to say, "maybe it's time to see if you can catch more flies with honey". Hana is also shown wanting to include Madeleine in group activities (TRR3 Ch 6, before going to the spa), in the same way she tried to include Olivia in TRR2. When we're shown a Hana who is not only willing but enthusiastic to speak to Madeleine, it further encourages the reader to befriend her - almost as if to say, "if Hana doesn't mind being friendly with her, why should you?".

And this wouldn't be possible at all if canon was honest about Madeleine's conduct in TRR2. So much about Madeleine's advice to us in TRR3 directly contradicts her own behaviour as future queen in TRR2 ("having an entourage isn't about vanity...it's about support"). Had canon actually been honest about her conduct, this statement would be viewed as extremely ironic, a huge portion of the blame for Penelope's reluctance to return to court would be (rightly) placed on Madeleine's shoulders and we would be able to call her out specifically on her tyrannical behaviour as future queen, as well as her inability to adjust her work to suit her client now. We would not be placing Madeleine on a pedestal ad nauseum, or paying much attention to her childish complaints that her "efforts" are going unappreciated.

Whenever the early part of the engagement tour is referenced, it is spoken of in the vaguest, most milquetoast terms. The narrative will speak vaguely of "meanness", but never actually specify what Madeleine did. The closest we get to any sort of confirmation of this is in the Costume Gala (Ch 9) if the MC warns Madeleine to stay away from Hana...and even there, the MC just says she did "mean things". Which is the mildest possible way I have seen of someone describing a person who gloated about breaking Hana. Like the word "hazing" from the previous book, all these vague references leave it to the readers' faint memories, or imagination, to figure out what Madeleine did.

But all of these are just hints at best, and most of what we could assume of the writers' intentions came largely from guesswork. There was constantly a sense of something not being right, but many of us at the time couldn't completely articulate it. That is, until Ch 16, and only if we pressed a specific option in the Vegas diamond scene, in just Hana's playthrough:

Unlike the previous scenes - which were mostly attempts to obfuscate the events of the previous book - this scene replaces what actually happened with blatant lies. Not only does it wipe out entirely what Madeleine did, replacing it with a casual comment from Hana about her "fun side", it also smears Kiara for something she didn't do at all during the bachelorette (for clarity, Kiara found out she was a great dancer, and looked quite annoyed if the MC chose a wrong dialogue option as an excuse to see her card. The MC never saw her lashing out at Penelope during this event). Even if the MC and Hana were so drunk that night that they wouldn't remember events clearly (which isn't how they're depicted at all when the "chocolate incident" took place), it wouldn't be replaced with things that never actually happened. The writers were more than ready to throw Kiara under the bus to make Madeleine look better, and have those lies come out of Hana's mouth (and mind you, Hana liked Kiara so much she chose her to be her MoH in Ch 18 of her playthrough, so it can't even have been spite towards Kiara on her part).

In contrast, Penelope is allowed to be open about Madeleine's mistreatment of her. In fact she cites it as the main reason for her reluctance to return to court, and even complains at the MC if the latter asks her if she didn't get the memo on the bachelorette dress code in TRR3 Ch 16 ("oh no, no, it's like Madeleine all over again!"). The group is required to protect her from Madeleine; in Ch 4, when Penelope is upset at the very sight of Madeleine, Drake comes to her rescue and reassures her ("She's with us, Penelope. We won't let her bite."). While Madeleine herself is protected from any consequences for what she did to Penelope (besides an optional tiny jibe in Ch 4), the MC and her group are required to reassure her that they will never allow it to happen again. In a very disgusting contrast, the narrative pushes Hana at the forefront of the diamond scene with Madeleine, without ever considering her comfort or safety around the person who wanted to break her. Not only does the group involve her without ever asking her if she wants to be part of it - Drake and Maxwell safely distance themselves when the time comes for Madeleine to speak personally about her troubles, and the MC can choose not to be sympathetic in certain dialogue options. Which means that the onus to comfort and persuade her is largely on Hana's shoulders. We must also remember that, unlike Penelope, Hana is deprived of the full truth of Madeleine's intentions in the last book too.

Where the writers were ready to at least admit that Madeleine's behaviour affected Penelope deeply, they went to the extent of completely rewriting the narrative of her TRR2 bachelorette to erase what she put Hana through.

The "Romance" in TRR3

(First four screenshots from my playthroughs, next four from the Adventure...Romance...Thrills YouTube Channel, and the final row's screenshots from the Annabelle Lee YouTube channel and the Skylia YouTube channel)

The Hana and Madeleine "romance" is hinted at in 5 scenes (4 in other playthroughs, and just one in Hana's own). As with most of the other romances, Madeleine's feelings are the most prominent. To the more romance-coded overtures, Hana's reaction is usually shock and disbelief, with a small suspicion over whether Madeleine is doing this to trick her into humiliation later. But the narrative gives her very little opportunity to even talk about anything related to Madeleine, especially anything negative. You do have a scene at the finale that is meant to provide closure, but not in a romantic way. This scene is very different from the others, and in some ways puts an end to the possibility of this relationship happening anytime soon.

How did we get from those scenes to this final one in Ch 22? It would be useful to look at the scenes, within the timeline of TRR3's release and with the context of fandom reactions.

1. The "Cordonia's Most" Scene (Ch 3)

This diamond scene is written to give the MC/reader a bit of background on Madeleine's past and family, which will prove useful later when she has to convince the Amaranths to fix their relationship with each other. It is set against the background of a drinking game where an asker can quiz everyone else about who would be the most likely to do a particular action. Hana references Madeleine twice in the game (in a very complimentary manner), and Madeleine references Hana once. It was her comment about Hana being "stupidly sweet and perfect" that caught the attention of some readers and made them wonder if that was the route PB was planning to take with Hana. This dialogue shows up in Hana's route as well.

In later chapters, we see instances of Hana trying to include Madeleine in group activities...such as in Ch 6 where she invites the latter to come with them to the spa after the football match with Jiro and Camellia.

2 and 3. Cross-Referencing Each Other at Costume Gala (Ch 9)

This is a very interesting development, at an equally interesting time. Around the time Ch 9 released (end-April 2018), PB announced that TRR's team would be taking a hiatus, mostly to work on "some exciting stuff" during that break. It also gave them the time to work on certain things the fandom was demanding, and do away with others due to stan vitriol (Kiara's attraction towards Drake being one of them). The next chapter would only appear a month and a half later (mid-June).

Ch 9 sneaked in a scene that hinted at Hana and Madeleine as a romance option, but in a way that made it very hard for players to notice on a casual read. The scene is split in two parts: the MC can choose to speak to either Hana and Olivia, or Maxwell, Justin and Madeleine. Hana and Olivia's scene shows the two commenting on Gala outfits, which kickstarts a conversation about diplomacy vs bluntness. The latter option explores a variety of topics, mostly revolving around an appreciation for Madeleine's "great work".

Both Hana and Madeleine reference each other in their scenes. Hana's dialogue depends on whether the MC is her fiancèe or not; in other playthroughs, she admires Madeleine's costume, the compliment on her good looks very personal. In her own playthrough, she compliments Kiara's outfit but in a more distant fashion ("subtle and clever, just like her...very well-chosen"). In Madeleine's scene (which is the same across playthroughs), the ending involves her telling the MC to "send my regards to Hana", in response to which she can choose a line of questioning (which ranges from "protective towards Hana" to largely indifferent. In all three options, thankfully, the MC can close with "don't let me catch you antagonizing her", but that really is one small mercy in a pile of blatant retconning.

What marks Hana's dialogue about Madeleine as an LI-specific option, is that she says something entirely different if the MC is getting married to her. This is an indication that the dialogue was intended to be read as romantic, and that it couldn't be said by an LI who was already in love and ready to marry the MC. Pretty much in the same way that Olivia in Liam's playthrough cannot hold his hand in Applewood or dance with him in Vegas.

I wrote an essay on this at the time - both on the possibility of the pairing and why it was a bad idea - and the overall response I received at the time was mixed. Those who remembered exactly what went down at Madeleine's bachelorette and weren't her fans hated the prospect, but some weren't as convinced and some refused to believe it would happen. So there was some pushback for it, citing Madeleine's "chocolate incident" (thankfully, since there were players who had forgotten about it), but it was very low-key and didn't gain much traction.

4. An Offer to Dance in Vegas (Ch 16)

The most obvious indication of Hana and Madeleine being a romantic possibility was in the Vegas chapter. It was impossible to miss for people who didn't romance Hana. This scene, again, featured only in playthroughs where Hana wasn't getting married - which meant that many Hana-romancers didn't get to know of this pairing unless they were told by a friend or saw any such posts on their dash (some even found out years later, to their shock and dismay).

The mild pushback from Ch 9 resulted in a scene where the writers could be emboldened to continue writing this pairing, but confirm (in the vaguest possible way) that Madeleine treated Hana badly. Madeleine's non-apology "apology" really reads more like an attempt to get into Hana's pants than actual regret, and is followed by a reaction from Hana that is confusing in its mildness. Hana is surprised at the offer to dance, asking Madeleine whether she's trying to trick her. While the mild suspicion is a slight improvement from Hana's fulsome praise and enthusiastic attempts to involve Madeleine in group stuff in previous chapters, it still downplays what Hana suffered at Madeleine's hands by making her present the weakest, most milquetoast examples of "fooling someone", examples that pale miserably in comparison to what Madeleine actually put Hana through.

With both the "stupidly sweet and perfect" dialogue and this scene, you'll notice that Madeleine is not only the one who initiates the conversation, but is also the only one with an actual voice in these exchanges. Forget having an opinion on whether she wants to have anything to do with Madeleine or not - the narrative doesn't even give poor Hana the opportunity to properly react beyond mere shock.

There was a stronger reaction to this scene than to the Ch 9 one, because it was way more visible (though you could avoid it just by letting Madeleine stay in her hotel) with Madeleine's romantic intentions on full display. Her asking Hana for a dance immediately after the no apology made it pretty obvious. Players who didn't see the Ch 9 scenes or who didn't believe the divergences meant anything, now couldn't deny that this was positioned as an alternative romance. Additionally by this time, those who forgot about the "chocolate incident" did get reminded of the exact scene, so the vagueness with which Madeleine "addressed" her actions in TRR2 felt criminally inadequate for a number of readers.

Most of us, however, didn't know about the retcon in Hana's Vegas scene, until years later. Those who didn't do Hana's playthrough would have had no idea, and those who did more likely chose the more romantic options.

5. "Jealous?" (Ch 20)

This scene is unique in that the option shows up across all playthroughs, but the specific reaction only shows up in two of them. It's understandable that Hana stans would have missed this - the dialogue is an option, the response is very fleeting and you would have to look through the same option in other playthroughs to recognise the variations.

In the cases of both Drake and Maxwell, Madeleine's response to this jibe from the MC is "ugh, please". Dismissive, almost mocking the idea that she would have any interest in them. In Liam's and Hana's cases, she appears shocked for a minute, then composes herself and gives a more neutral response ("I...I refuse to dignify such a ridiculous question with a response"). In Liam's case, one can safely assume that even though she had no romantic interest in him, she was still on the verge of marrying Liam and that alone would make the situation awkward. In Hana's case there is really no other reason for her to feel that awkward besides having lingering feelings that she cannot suppress.

While this version of the scene doesn't feature in playthroughs where she is single at all, it's still a very strong indicator of authorial intent. Even in the face of backlash against the pairing, the writers clearly wanted to continue hinting at the possibility, if they were slipping in hints of Madeleine's feelings for Hana as late as Ch 20 (just two chapters before the finale). The most plausible theory for this inclusion would be that the backlash was a lot more than it was after Ch 9, but not entirely enough to do away without the pairing completely...yet.

6. "I Wanted To Break You" (Ch 22)

No one knows what happened between Chs 20 and 22, and there's little I can think of that would account for such a quick change in such a short span of time. The finale has a scene featuring Hana and Madeleine, that begins by drawing more obvious parallels between the two women and their families (until now, the parallels were not as pronounced. It's not exactly a great parallel to begin with, since Madeleine has at least one supportive parent and doesn't get punished to the extent that Hana has been, if she openly protests against her parents' methods. But in TRR3 the narrative sometimes does use Hana's toxic parental situation as a parallel to garner sympathy for Madeleine's).

However, once the parents are out of the picture, the attention then turns to Hana and Madeleine, setting the stage for either a romantic confession or a full apology. This time, canon opts to go for the latter.

Unlike all the others, this scene is bluntly specific not just about what Madeleine did but what exactly her intentions were. It has her use the word "break"; it has her actually say the word "sorry". It allowed Hana, for the first time, to fully hear the truth about the harm Madeleine planned to wreck on her. And most importantly, it also allowed Hana her own voice in response to Madeleine's revelations, making it very clear to her that her forgiveness needed to be earned, over a period of time.

The dialogues used to talk about Madeleine's bachelorette in the finale are poles apart from the language they'd used earlier ("hazing", "put my ladies through their paces", "mean things", "refuse to coddle", "wronged"). The finale scene was a more accurate return to the original language and purpose of that bachelorette scene. In fact it sounds less like what canon had been attempting to gaslight their readers into believing thus far, and even seemed to borrow verbatim from the language of the readers who closely followed this issue.

One could call it a good closure scene on the surface level...but there are many, many problems with it.

One was the reaction of the MC. Her angry "excuse me?" in response to Madeleine's confession is still a very obvious retcon. It may have been done to preserve the myth that the MC is a good friend/wife to Hana, but reads as extremely dishonest when you remember that canonically, the MC knew the truth about Madeleine's intentions the whole time and just chose to leave Hana in the dark. It's an attempt to make the MC seem protective that ultimately rings false.

Another is the excuse Madeleine gives for why she targeted Hana. "I wanted to push Hana too far, and for her to drop the nice-girl act once and for all! Only, it isn't an act, is it?" My response when I first read this was "if Hana was faking it...so what. So fucking what. Who was she harming". Coming from the reigning queen of duplicity herself, Madeleine is really not in a position to be judging anyone for putting up a front. This also ties into the hollowness of the motives PB tried to belatedly cook up for TRR2 Madeleine's bullying - no matter what canon says to whitewash her actions, her attempts achieved nothing, did no good for Cordonia, and would likely have led to a very fractured court if the Unity Tour was held while she was queen.

Ultimately, the possibility of this pairing becoming canon was laid to rest in the final chapter. One could interpret Madeleine's promise of a starting gesture ("know that if anyone at court gives you trouble, I can make them regret it") as a possible opening to something more, but considering the earlier backlash, that was unlikely.

TRH - Madeleine Gets The Penelope Treatment, Hana Gets Her Entire Childhood History Retconned.

An interesting development that came up when TRH dropped was the departure of Jeffrey Herdman from the team, most likely because he was heavily involved in the writing of its Renaissance-era spin-off The Royal Masquerade. He would return, by TRF (he is part of their finale livestream), but by then his pet favourite character was likely gone.

TRH has a different set of circumstances, and different power dynamics. The MC is settled into marriage and trying for a child, the LIs are working in the council, Olivia is upgraded to cosplaying spymaster and the side characters go on with their lives. The first book of TRH seemed to do a surface-level recognition of some of the complaints certain readers had in previous books, but their favourites and the people who wouldn't get much attention or appreciation, remained the same.

TRH1 was a time when the writers praised Hana and claimed in a livestream that she was the kind of LI they would love to marry, but also where they gave her a condition that (inaccurately) made her unable to safely carry children (just for the MC to be the mother of the heir) and forced her to be immediately okay with that fate. As the sequel series progressed over the course of 4 books, the erasure of all that Hana was in the past was subtle and insidious - the narrative often compared her to Olivia and found her lesser, she was never allowed to even mention her home place China and worst of all - the writing completely retconned the emotional abuse she suffered at home by claiming it emerged from loving protection, from wanting to keep their daughter away from a cult. And even though Hana's discovery of her sexuality was described by Kara as a "journey that she's still on", no attempts were ever made to show her exploring what she likes romantically, or to show her dating. We don't know if she's involved with anyone, we don't know where she lives, we learn very little of her interests beyond what benefits the MC at any given moment, and the narrative never fails to remind us that they like Olivia more than they like her. Hell, they still encourage Olivia to keep insulting and degrading Hana! Hardly the behaviour of writers who love a character so much they would marry them irl, honestly.

On the other hand, Madeleine wasn't very prominent in TRH1, but gained notoriety in the next two books. The first book has her occasionally engage in inappropriate, invasive badgering of the MC to get pregnant quickly, and she continues to pretend that her doing whatever she likes without ever consulting the person in charge is professional behaviour (eg. Setting up the presscon about the MC's pregnancy announcement. She never even considers whether the MC would be comfortable announcing this pregnancy or not at this time). She gets to deliver a small bit of foreshadowing in the second half of the book (an early hint about Queen Eleanor's pregnancy, though Madeleine's awareness of it hardly makes sense when you look at the entire TRH series, and it never comes up as a point again). Her father being exposed as the traitor who poisoned the former queen builds up to a storyline that benefits her the most in the long run.

Hana is given one chapter where she can call Madeleine out on her entitlement (Savannah's bachelorette). She doesn't insult or berate Madeleine in TRH1 Ch 7, but is refreshingly no-nonsense and will not put up with Madeleine's constant whining about an event she had invited herself to. It's a small, cold comfort, since Hana's actions here are tied to making Savannah's bachelorette a success rather than for herself - but it's still gratifying to see Hana in a position where she can call people out without having to worry about the repercussions. Especially when the narrative disrespects Hana in so, so many other ways for the rest of the series.

In the same chapter, the ladies of the court are given an opportunity to talk about their love lives. Of the four, two women can speak about the people they like (Penelope about Ezekiel by default, and Olivia about Liam if you choose), and one only mentions him by name if the MC is married to someone else (Kiara, about Drake, if you choose to ask her over Madeleine). Madeleine doesn't mention anyone at all, insisting that marriage is something she will only consider for the benefit of her country or estate. This was a relief to players who feared that PB might attempt to push the possibility of romance between Madeleine and Hana again.

Though Madeleine doesn't get the romance that PB so desperately wanted to gift her in the last series, and she isn't given any further romances...the narrative clearly wasn't done pandering to her, even though Jeffrey was not officially a part of the team.

Remember how in the previous essay, we explored the levels to which PB encouraged players to coddle Penelope? Entire chapters would be spent just making her feel comfortable and safe, in encouraging her to help us. No actual initiative or enthusiasm from her end, even if her actions caused the problem or there were lives and reputations at stake. No, Penelope's comfort and happiness should be front and center.

Now think of that treatment, but on steroids and lasting for two whole books. That's what Madeleine's story - starting from TRH2 - looks like.

TRH1 ends with the reveal that Madeleine's father, Godfrey, was involved in the assassination of Liam's mother Eleanor. So a certain amount of narrative focus on Madeleine was expected, perhaps. But the second book doesn't stop at just that.

We are not merely asked to be kind to Madeleine. No, kindness towards Madeleine is expected of us. The warning issued in TRH2 Ch 4 promises "consequences", which means we know straight off the bat that we will be punished if we're not nice enough. It insists we take note of her "fragile state", and give her the mercy and compassion she had never given to anyone in her court.

To give Madeleine the smallest of credits, she acknowledges this just two chapters prior to the oath ("in the past, our positions were once reversed and I was...unkind to you. I had no reason to expect any kindness from you..."). However, this admission does sound disingenuous in the face of the narrative's implicit demand that we treat her nicely. Because if she did recognise her own past behaviour in TRR2 esp as hurtful, and herself as not exactly deserving of kindness, then it makes no sense for her to judge people for behaving exactly as she expected. A genuine redemption arc would have been one where she understood no one owed her kindness after what she'd done, and still determinedly forged ahead to do good for her country. After all, the narrative wanted us so badly to believe this woman was patriotic, right? If her "patriotic spirit" was so tied to her ego that you needed to pamper and praise her every five minutes, just for her to not support such an obviously-foolish tyrant as Bartie Sr, then it can't have been as strong as canon so vehemently claimed.

TRH tracks our "treatment" of Madeleine over 2 books and 10 distinct scenes. Of these, 6 scenes allow us to choose between kind responses and unkind ones, 2 others require the player to choose one among multiple options of people, and 2 scenes are check-in dialogues rather than actual choices (which means that the player doesn't choose an option, they just find out through such scenes whether they are winning Madeleine's favour or not). I imagine that the first category is the most important, with the second being options that you don't necessarily need to choose Madeleine for if you want to go for one of the others, as long as you pressed enough "kind" options.

To elaborate, here's the breakdown:

Kind/Unkind Responses

- House Amaranth's pledge (TRH2 Ch 4). Notably, the "most hurtful" one doesn't even accuse her of anything - it just tells her that the family needs to earn back the Crown's trust. Compare that to Madeleine's accusations to Hana that she was trying to kill her and deserved to lose her position in court. You know, the cruel treatment that some Madeleine stans claimed "wasn't that bad".

- Carrying the Heir's train at Anointing Ball or not (Ch 5)

- Deciphering Madeleine's conversation with Godfrey on his boat (ie whether she is betraying or helping the MC) (Ch 6)

- Acknowledging Madeleine's help in capturing Godfrey, at the Gratitude Ball (Ch 7)

- Gently encouraging Madeleine into being Penelope's bridal attendant, rather than mocking her (TRH3 Ch 2). There is no longer any need to acknowledge Penelope's earlier fear of Madeleine - we are expected to forget entirely that she was the main reason why Penelope didn't want to return to court in TRR3.

- Trusting Madeleine to help with investigations at Fydelia (Ch 6)

Choosing Among Multiple People:

- Speaking about loyalty before making a pledge to the Heir. Other ladies of the house are also presented as choices (TRH 2 Ch 14)

- Babysitting the Heir during Fox Hunt. Other choices are Regina and Savannah (TRH3 Ch 10)

Relationship Check-in:

- The way Madeleine greets you at Fydelia (Warm Welcome/Cold Front) (TRH3 Ch 6)

- Whether Madeleine helps you escape with the Heir in Ch 13, or allows the child to get kidnapped by Godfrey in Ch 15 (Desparate Times/What Goes Around)

The ending of TRH3 has Madeleine either thriving and inheriting her mother's estate, or being merely fired from her job in Royal Communications (a better punishment would have been to strip the entire Amaranth family of their lands, but I digress). She is notably absent in TRF, possibly because she wasn't entirely very popular to start with and two whole books of coddling her didn't exactly help matters either. As one of the junior writers in the TRF team said, "some people exiled her so..."

The first few opportunities to win her over, notably emerge from attempts Madeleine makes to assure the Crown/MC of House Amaranth's loyalty, and you will find that even at an early stage she expects to be included in sensitive discussions that call for discretion, and to be constantly praised for her efforts. Let me give a reminder, again, that she hardly ever gave any praise to the women working for her, and in fact punished them just to keep them constantly in fear of her.

I know it sounds like I'm labouring too much on this point, but it's important to understand just how much effort the narrative had put into coddling this one woman. Chapters and chapters of branch coding, writing two routes, title cards, dialogues, rewards and consequences.

This is similar to the way the narrative encouraged kindness and sympathy towards Penelope, but it's now over a lengthier period of time and with more drastic consequences. We were required to coddle Penelope over a chapter each in three specific books, or be deprived of her support/help. We are required to constantly shower Madeleine with praise and sweet words over the course of 31 chapters, or she will help an unscrupulous Regent-Elect kidnap our child. She will even openly accept that the only reason she put a mere child through that, was because we weren't nice to her ("Wouldn't you have done the same to me? You've made it abundantly clear you see me as the enemy").

But if the MC deserved a punishment this cruel for just mocking Madeleine at every turn, then what punishments should Madeleine get for what she put her own ladies-in-waiting through? What should she get for planning to "break" one of her courtiers? A second broken engagement doesn't seem entirely enough by such parameters.

Then again - as I said before, the narrative deliberately shifted the goal posts for what a potential royal could and couldn't get away with, in the time between Madeleine's engagement tour and the MC's marriage, for this very reason. So that Madeleine would never have to face the kind of constant censure the MC and Liam would face regularly. Among characters in canon, or among largely biased stans in the fandom. Speaking of which...

Fandom

Madeleine's popularity has always been a mixed bag, ever since TRR2. By TRR2, there were people who loved her for what they thought were her craftiness and wiles, some who suspected her to be involved in the plot against the MC, and a number of Liam stans had reactions that ranged from stanning, to indifferent (after all, both Liam and Madeleine showed a mutual disinterest towards each other), to slightly jealous (after all, she was still his fiancée).

But it was Madeleine's treatment of Hana in Ch 7 that definitely crossed a line for quite a few. It was so unwarranted, and her justification for this act so inarguably cruel, that it turned several people off her immediately. The way canon dealt with this was to make her feature less in the story until the memory of the "chocolate incident" was faded and almost forgotten, and then encourage fans to sympathize with her.

The gamble definitely worked, with plenty of help from hardcore Madeleine stans who often downplayed what happened to Hana ("a prank", "making Hana cry just once" were some of the terms used to describe it). By TRR3, I recall having to remind some of my mutuals what actually happened in this scene - their own recollections of it were that vague. The Hana and Madeleine ship would have died a far quicker death if more people remembered this incident as it was shown, and not as narrative wanted us to remember it (and also, if more people cared that it was Hana being hurt, rather than their fave white girl/boy).

Madeleine gained some popularity among the wlw crowd - a couple of them did have a soft spot for stoic, aggressive or women often labelled as "bitchy" (I know a few who also showed a similar amount of love for ACOR's Xanthe or BB's Priya, to be fair...but the adulation for the white female antagonists was a lot more), and Madeleine clearly fit that bill.

A point that often came up from Madeleine stans who were wlw (and reiterated with other mean-girl characters) was that grey-shaded and villanous male characters weren't subject to as much censure as their favourites were. While there is truth to such an argument, it fails to take into account the role race often plays in the way some "mean" women are loved and certain others are scorned. Madeleine clearly did not have the scale of hate that a Xanthe or even a Kiara (who isn't even on the same level) got. In fact when it suited them, many in the fandom were more than ready to view Madeleine as a victim when Liam broke his engagement with her.

Madeleine's "patriotism" - as I've now clearly established - was a retcon made to erase the worst aspects of her characterization. Sometimes it was used to make people feel sorry for her losses, other times it was made to cover up her actual behaviour in TRR2. But there were very few readers who didn't consider it an undeniable fact. Even among those who were indifferent towards her. For instance, in an anon ask that compared Madeleine and QB's Poppy, a poster responded that "the difference between the two was that Madeleine had a sense of duty, and Poppy was just petty". In TRH3, players who claimed that "we can all agree Madeleine is fully redeemed" when she worked with the MC to protect the child from Bartie Sr, stayed mysteriously silent when the other consequence (her helping in the child's kidnapping because she didn't like the MC's pettiness) showed up.

And while these responses could be attributed to the way canon gassed Madeleine up in TRR2 and 3, some of these players had no problem nitpicking the political savvy or work of certain other (CoC) characters, esp Liam (often bashing them for "throwing parties every day", even though the general populace was depicted as being happy with their rule and influence. Mind you, no prompting from PB was necessary to bash these characters). So why were these parameters never applied to Madeleine? Why was practically no one asking what the political relevance of her bullying (as future Queen) was, or why we were expected to sing her praises for poor time management or terrible work ethics towards her boss, or ask what work she actually did in canon as Royal Comms Director? (There is a reference or two to the position, but you aren't shown that many instances of her doing much work). For quite a few, the fact that she walked around with a job title in TRH was more than enough (somehow Kiara never got this kind of fandom treatment despite being part of the Diplomatic Liaisons department).

How does this adulation for such a heavily retconned character, affect the way the Hana and Madeleine ship was viewed? For one, it meant that readers bought into the retcons easily enough that Hana's pairing with her was seen as an extension of her "redemption arc" by some.

Take the example of the various posts that argue in favour of this pairing, or fic that features them as a couple - a lot of them center Madeleine: her pain, her history, her reasons, the correctness of giving her a reward. Hana is barely mentioned or given much attention in these arguments - and often when she has any sort of voice, it is only there to humanize Madeleine. Supporters of this pair often took stances that were either ready to throw Hana under the bus, act like she hardly mattered, or treat her like some sort of blank slate to scribble their adulation for Madeleine over.

Hana is often viewed as less worthy of a focus - she is often the benevolent saint who forgives Madeleine because she "worked so hard to be better". Often it never matters to get into detail why Hana thought Madeleine earned her forgiveness, what Hana's perspective was, what journey she went through to get such a point. Because if Hana's journey really mattered in such a ship, the most pressing questions would revolve around why Hana should ever trust a person who wanted to break her in the first place. Why she should feel safe around such a person. Why her own friend group wouldn't want to protect her from such a person.

Some readers would bring up their parallels as daughters brought up in families that didn't value them, but neglect to take into account the nuances of those dynamics (Madeleine's mother at least wanted to be supportive, and no matter how bad things got, Madeleine was never in danger of being disowned. Hana was, repeatedly). Nor is it fully honest about how Madeleine was comfortable being a perpetrator of abuse, in contrast to Hana's own deep discomfort with the idea of controlling her partner.

In certain cases, I can maybe see this attitude in fandom emerging from an acceptance of the narrative's retcons as truth. But I also think there were as many readers who were just inclined to liking the mean white girl, and finding justifications and excuses for her behaviour.

Fandom's attitudes towards Hana herself often played a small role in how Hana's end of this story was ignored too. When TRR3 fucked up her arc phenomenally (by rushing her parents' turnaround from disowning her to supporting her in Ch 15), it became popular to view Hana as a lesser character, and the "meaner" white women as better. People who wanted other options for female LI often took their frustrations out on her, calling her "weak", servile and submissive, dismissing her honest accounts of the treatment she faced even from her own parents as "whining". If that was the way people preferred to view her emotionally abusive childhood...then what can one expect from such a fandom when she was being outright bullied?

Fandom was already comfortable with the idea of erasing Hana in their content, or replacing her with either their fave white girl (or an equally white OC esp in their fanfic - but more on that in a future Hana essay). So neglecting to center her in what would have been her only canonical alternative romance wouldn't be too difficult for some people.

Which merits the question...is there a way to write about (or write fic for) such a pairing, in a way that centers Hana, respects her story, makes it clear that she has the right to never forgive Madeleine no matter what she does to "earn" it - if that was what she wanted? I highly doubt it. You'd have to completely change Madeleine for that to happen, and that would more likely result in a situation where you were too busy working on her as a character, to give Hana the attention and focus she deserved.

And that's a real pity, because there's plenty to explore about Hana if you actually take the effort to look.

Conclusion

In a lot of ways, once the team had decided upon making Madeleine into a more positive character, they tried to draw a little from Olivia's arc to replicate its success. You can see some of these parallels in the way TRR2 structured the bachelorette as a semi-callback to the childhood- reveal-mocking-Savannah sequences in TRR1 Ch 7. Both chapters gave you reasons to start seeing these women in a different light, while still feeling free to dislike them. In both chapters they also targeted LIs - the only difference was that Drake's diamond scene post that confrontation centered him, and Hana's parallel diamond scene a book later...centered everyone else.

That attempt in TRR2 didn't work for several reasons - the timing wasn't right, Madeleine's cruelty had gone too far for some, the retconning hoodwinked quite a few people but not enough.

So when they tried to pair her up with the victim of her bullying, and twisted canon to make it happen - enough readers emerged to call it out, enough people pushed back by Ch 16, and the possibility of this alternative pairing garnered enough dislike that not only did the writers have to backtrack, but they also had to wipe away their past retcons and write in a scene where Madeleine gave Hana the full, unvarnished truth about the "chocolate incident". Hana was, thankfully, given a chance to give Madeleine her most polite "no".

And although that ship would never be brought up again, the team (even without Madeleine's top writer Jeffrey) still attempted to make pampering and uncritically praising her a narrative priority. She gained a bit more popularity during this time period - quite a few were inclined to feel sorry for her (especially considering the way her father's crimes affected her social standing) and saw only what happened if you were consistently nice to her.

But there was also a significant section of people who were tired of the constant coddling, and who didn't like that it was demanded of the player (when there were far more deserving WOC in the same book, who didn't get this level of kindness). It was significant enough that Madeleine wasn't given any scenes in the final book, and the writers cited her lack of popularity as a reason why.

As a Hana fan myself, it was a relief to see Hana not be paired up with her bully. But it was also immensely disheartening for me to see that "ship" get as far as it did, and to see the narrative do so much more work for Madeleine, than they did for Hana even in the follow up series. It was even more disheartening to see so many in fandom follow suit.

--

By now, we have explored 3 out of the 4 alternative pairings that TRR put forward for the LIs. They all vary in terms of buildup, attention, and payoff. But there are several things that are common about them. They all have either significant histories with the LI, or the narrative thinks they share something in common. The moment an "alternative" option ends up harming the MC, they are no longer suitable as an option because of the LI's loyalty towards her.

But perhaps the most common factor among the three women we have explored so far is how the LI is expected to treat the alternate, no matter how jealous the MC is allowed to get, no matter what the alternate themselves may have done in the past. The alternate is supposed to be treated well. With respect, with kindness, with compassion.

Betrayal doesn't allow an LI to treat their alternate badly. Bad behaviour doesn't allow an LI to treat their alternate badly. Disregarding consent doesn't allow an LI to treat their alternate badly. Classism doesn't allow an LI to treat their alternate badly. Not loving them back doesn't allow it either. Not even extreme levels of bullying...allows an LI to disrespect them.

In the next essay, we will see if any of these rules apply to our last alternative LI - Kiara.

Next: Drake and Kiara.

[stromuprisahat]

While I could feel for Alina, I can't bring myself to do the same for Zoya, and one of the reasons is her added (retconned) backstory.

We meet Alina around her 17th year of age. She's sickly, with whole encyclopaedia worth of mental issues from being brainwashed from her orphanage to self-gaslighting and some more. She never gets over most of them. The thing is, one can see why.

Not only the story takes place in barely a year, soon we learn there's such a thing as wasting sickness, severe deterioration of Grisha health, occurring when they're not using their powers. And Alina somehow managed to do it for longer than is usual. Suddenly, her stock of issues makes sense. Physical chronic diseases like to be accompanied by mental ones, untreated mental ones often snowball into more and WORSE. Alina's physical health was like on a swing during that short time of the trilogy, her brain probably gave up its healing efforts after the second whiplash...

It's frustrating, reading about a girl, who started off weakened and frail, to not just never get better, but eventually end up SO MUCH worse. It's not a story to make you cheer, but pity, especially since the terror of reality's not even acknowledged.

Then you have Zoya, at first an arrogant bitch with dead aunt. She's a year or two older than Alina, already out in the world, in contact with ordinary people, represented by her said relative. Her main story takes place some three years later, in a country that makes you grow up quickly. It's only logical to expect more mature character... logical...

Instead we get a girl- a girl, not a woman- who lives in her black-and -white bubble, rash and short-sighted, still seeking someone to take her under their (preferably ~his~) wing, too afraid she'll have to stand on her own two legs, idealizing victimhood and when reality proves too cruel, she chooses not to believe it.

While reader's expecting her to overcome consequences of her past, she's clutching her trauma like a teddy bear (and I don't mean that one death, but her mommy/daddy issues), because if she let it go, she'd have to face the real world, that's far from the simplicity of stories she likes to tell herself.

Unlike Alina, the only thing standing between her and development, is HERSELF.

Her unwillingness to quit clinging to status quo, because what is she, if not the lone ship in a sea she has no impact on? Although she goes through training that's supposed to make her face her past, the growth is nowhere to be seen. But then again those faults are just what her "mentor" needed in order to use her as a credulous meatsuit...

What makes it a drop more frustrating for the reader, is LB's favourite pastime- ignoring consequences of her MCs choices. The author's favour ensures Ravka doesn't fall, and Zoya's thick plot armour won't allow her existence to cease under the preassure of hundreds of years old mind of a stranger SHE let in.

[animezinglife]

Sending this here because I didn't want to clutter that post.

I won't get mad at you for having an opinion different than mine 😂 don't worry.

I guess your opinion of Hazelwood is like mine with Colleen Hoover. She's just not for me.

Also my main issue with SJM is that she seems to have no idea where Acotar is going anymore. She takes too long between books and then forgets the original thought she'd had. She keeps changing her mind and retconning things.

Also if you have any romance book recs , I'd love to take a look.

I'm glad, and likewise! I've gotten a lot better over time in terms of pickiness towards books, and I fully acknowledge that there are two different types of "good" books: books that someone loves and enjoys, and books that are genuinely well-written. Ideally, those overlap, but not always.

I think my issue is more with the idea that seems to be prevalent that SJM somehow "is" fantasy, or that her books are at all an accurate representation of the genre when that simply isn't true. There's room in the genre for different types, but I personally can't look at someone who's only ever read SJM and call them a fantasy reader--they aren't. They're a Sarah J. Maas reader.

I had to switch to audiobooks to overlook her grammar and punctuation errors. Again, that's something an editor should be helping with, and I can't understand why better quality work isn't being done. All writers make errors--none are perfect. Yet there isn't an excuse for the volume of them in her books given the resources at her disposal and investment publishing companies have made in them.

The lack of consistency also frustrates me. I don't understand why she "undoes" so much without providing appropriate context or reason, and for me, that even comes down to the fundamentals of the story. This could be helped somewhat with adequate worldbuilding, yet when it comes down to it, even the Night Court could at best be described as, "Whatever Feyre and Rhys want it to be." Or, it's culturally/politically whatever the plot needs it to be at that specific moment.

ACOWAR felt like the end of the series to me, so I think you bring up a good point with her not knowing where to take the story anymore. Maybe she does, and maybe she doesn't. There's always been a lot of aimless writing throughout the series, and each book could easily be cut down about two hundred pages without losing any substance or necessary detail.

There's a lot of room for complexity and intrigue she simply never digs into.

What are the consequences for the bargains being made (besides the short-sighted death pact)?

What do the people of Night truly think about a twenty-one-year-old human girl who became High Fae yesterday being made their High Lady?

What is the depth of the impact of Feyre's and Tamlin's actions to the survivors in Spring? Their lives were uprooted because their High Lord made stupid decisions and their lives were worsened because of a messy breakup.

SJM does deliver on the romance between Feyre and Rhys. I wasn't as sold on Nesta and Cassian (even if I love Cass). I'm curious to see what she will do with either Elain and Lucien or Elain and Azriel (or Azriel and Gwyn).

Aside from the first book (which, let be real, was completely unnecessary given the direction things took), the romances aren't at all my issue with her writing. The worldbuilding has always been an issue: there's no grounding, technology makes no sense, and fashion seems completely random in Night.

The retconning is inexcusable. It's very clear to me that regardless of what she says, she had very different plans for Tamlin at the start of the series. I always thought he and Feyre had no chemistry and that the whole thing felt forced, but she gave no such indication of awareness in the book. Feyre, in my opinion, immediately had more chemistry with Rhys, and while I think it was obvious something was inevitably going to happen between them, SJM took the easiest routes possible for herself (story be damned) and made Tamlin a mindless villain.

Did I ever like Tamlin? No.

Did I think he and Feyre needed to be together at any point? Definitely not.

Do I think he deserved to be written better and for his character to be given more nuance after spending an entire book with him? Absolutely.

I'm worried about what she'll do with Lucien, Elain, and the Autumn Court. Lucien has been my favorite from the beginning--I joked early on about him being exhausted from carrying all of Prythian and the entire first book on his back. Elain has tremendous potential in her own right, and so does the Autumn Court.

I would actually rather see SJM slow down in her writing. I think the speed shows when the story and characterization becomes messy and careless.

Recommendations

It depends on the type of romance you'd want. Carissa Broadbent is the complete opposite and not only digs into multifaceted characters, complex political systems, and intricate psychology, but she pretty much never comes up for breath. Each book in every series she writes gets better as it goes along. My favorite is her Crowns of Nyaxia series, but The War of Lost Hearts (an earlier series of hers) certainly checks the high fantasy worldbuilding boxes on a entirely different level. Every point that I feel SJM misses, Carissa nails.

Be warned: she will gleefully make you question quite a bit about your own morality.

It's not strictly fantasy romance, but Katherine Arden is also excellent in both prose, character complexity, nuance, and worldbuilding (the same strengths Carissa shares). I recommend The Winternight Trilogy.

If you're looking for something quirkier with a wildly twisted sense of humor, T. Kingfisher's Paladin's Grace is a great option. Her characters are also in their thirties/early forties in The Saint of Steel series. There are a few typos I recall seeing and the (obviously) intentional use of run-ons during humorous action scenes. The first two books are great. I did want more out of the third one, personally.

I recently read The Spellshop by Sarah Beth Durst and can say I will gladly pick up more of her books in the future. She has a lovely, gentle command of language, and this book in particular is the definition of cozy. The romance is light, but it's very sweet. This is a whimsical read perfect for a cottagecore crowd. I will say while I felt the last act wasn't as strong as the rest, it was still more than worth the read.

I haven't yet read Hoover, but I've heard quite a few similar opinions. At the end of the day, something not being for us doesn't mean we're against the author's success or bashing anyone else's opinions. It often means we either value different things in books or our opinions have been formed through different experiences.

[gorogues]

It is an on going puzzle for me to find romantic matches for the Rogues and I decided to look at all the female characters that DC has. DC has in total about 3000 characters. So you can imagine what it was like sifting through most of it. One of my problems that I was having was that I wasn’t quite sure what I was looking for. Romance is tough and it’s harder when you’re trying to fit characters together.

Usually when I watch a show. I can figure out the love interest in a couple of episodes but I imagine the writers have something to do with that.

Writing a romantic story is an entirely different thing and should be a neat experience for me. The problem I’m having is the 2 chosen characters Patty Spivot & Angela Margolin. There side characters that work with Barry so finding the goods on them would be immensely difficult. So I was wondering if you’d be interested in making a profile on them for me.😅

As well as pointing me in the right direction for the comics that showcase their personalities best. Please.🥺

Sure thing, though Angela was a Wally West-era character, not one of Barry's (she basically replaced him when he left). She didn't appear for very long, so I think Kelson Vibber's biography of her has everything you need, including a list of notable appearances. Plus, here's her bio from Flash Secret Files #2 so you don't have to look for it.

Kelson also has a biography + issue list for Patty which you might find interesting, though it hasn't been updated in a while and doesn't cover her modern history. So I'll give a run-down of what Patty's done since about 2010.

She first began appearing again in Flash: Rebirth #2, as part of a retconned flashback to Barry's early days. It was a minor appearance, but introduced her to a modern audience. In Flash v3 #1, we were told that she'd left Central City to work in Blue Valley because she'd gotten tired of David Singh's attitude and all the big city murders. In Flash v3 #9, Barry called her to help with a murder case, and despite Forrest's pessimism that she wouldn't come back, she returned in #10 and had a fond reunion with Barry. She insisted she wouldn't help because she was tired of murders, but got pulled into it nonetheless, especially because there was a child involved (spoiler alert: the child was Eobard). She managed to crack the case with her forensic skills, and acknowledged to herself that she left Central City due to her unresolved feelings for Barry (who was married), but then Eobard re-aged himself and tried to kill her. She was rescued, but Barry tried to convince her to stay in Central City and she confessed her feelings and said that's why she had to leave; he said they'd always be friends and she agreed to think about staying.

Then Flashpoint happened, and in that altered timeline she became Hot Pursuit after the murder of the first HP. She stated that she did in fact reluctantly return to the job in Central City, but the Hot Pursuit gig called to her and then she found herself in Flashpoint with memories of the original timeline. She was killed while helping Bart Allen, but then Flashpoint ended and the timeline was reset with the New 52.

The New 52 really bums me out, so I'll be brief with it. She and Barry had just started dating when Flash v4 #1 began and didn't know he was the Flash, and she blamed the Flash for Barry's 'death' after he fell into a wormhole. Stuff happened and Barry didn't tell her about his secret identity, but she found out accidentally in the midst of a battle and was okay with it -- she stood by Barry and they continued dating even though he hadn't been honest with her.

But eventually Barry was replaced by a meaner version of himself from the future, and he horrified Patty with his violence. She convinced him to be better and find a less murdery way to stop a villain, which he did, but she was decidedly unimpressed by his claims/bragging that he stopped a guy without killing him, and she told him she never wanted to see him again. The present-day version of Barry returned, but the two of them broke up off-panel anyway, and she hasn't been seen since. It was pretty abrupt.

Basically, Patty's modern self -- she had a lot less characterization in the Bronze Age because that was the way of comics in those days -- is that she's kind and caring above all else, and that tends to override her better judgment at times. She didn't want to return to Central City and its violence, but did so anyway because she cared about others, especially a vulnerable kid. She stuck with Barry when he needed her despite his lack of honesty because she loved him and knew he needed her. And she became Hot Pursuit and gave her life to help Bart because she was brave and determined and maybe was more of an action junkie than she might admit to herself. I guess you can extrapolate from that, leaving aside the weak plot decision to have her break up with Barry off-panel. I think the new writer on the book wanted to go in a different direction, but that was a crappy way to do it.

Flash: Rebirth #2 Flash v3 #10-12 Flashpoint: Kid Flash Lost #1-2 Flash v4 #1-40, plus annuals 1-3

[loopy777]

Spoiler Thoughts & Reactions: Azula in the Spirit Temple

This is the stuff I had to leave out of my other post because it's spoilery, mostly concerned with Azula's character arc. It seems the fandom is having mixed reactions to this, but I think it moves Azula forward in a big way as a character, even though very little changes about her general situation.

The thing I'm most struck by is that this thing has the exact same character arc as the 2-chapter vision question I sent Zuko on in Traitor's Face, complete with the protagonist seemingly rejecting redemption at the climax by attacking the spirit in what is actually a symbolically self-destructive reaction to becoming consciously aware of the abusive they experienced from Ozai- an awareness that may lead to better choices in the future.

I love that Azula actually talks about Ozai here, and the flashback to her discovering her Firebending is perfectly illustrative of her dynamic with her parents. During her spirit visions, Azula claims to no longer support Ozai because he failed and lost his Firebending, which seems to be a change from how she was still taking his orders in 'The Search.' After 'Smoke & Shadow' was loudly silent on the matter, we see that she's truly taken a step forward in her characterization and is no longer consciously trying to win his approval. I had suspected as much, considering her obsession with Zuko, but it's good to see it given confirmation and focus.

At the start of this story, Azula is definitely diminished, though, running around the fringes of the Fire Nation committing petty acts of sabotage, no longer attempting any grand plans to manipulate Zuko but rather just generally antagonizing him. This is a change from her professed mission in S&S to supposedly make him a better Fire Lord by teaching him the power of fear over love.

My own speculations are that that she either wasn't serious about her true motivations in S&S (which I think would be a retcon), she's now lashing out at him in revenge for his rejection of the lesson, or she's just taunting him with her own continued survival and freedom in order to show him that his belief in love can't accomplish everything.

Getting back to Ozai, I was stunned to find that this comic actually has her admitting that her father abused her and she feared him. That is a huge step forward for her, acknowledging the part he played in her troubles. And yet, at the story's climax, when she goes to attack the spirit who has been troubling her and giving her visions, she proclaims herself the daughter of Ozai (not Ursa, unlike Zuko at the climax of 'Zuko Alone,' despite Azula also admitting some real truths about her mother), gives him the title of the Phoenix King, and uses it as proof of her claim to the Fire Nation throne. That seems to be a huge reversal from the earlier acknowledgements, and she explicitly frames it as a rejection of the possibility of redemption- a rejection even of the need.

This would seem to be a rather meta sign of what we should expect next for Azula, that there will be no Redemption Arc and she will remain a villain. But I'm not so sure.

Because Azula is not being honest.

The spirit, after it takes its final monstrous bug-like form, describes itself as a mirror of Azula's inner-self, a monster just like her, and the consequence of rejecting redemption. Azula attempts to destroy it with her lightning, a symbolic act of self-destruction. She seems to once again be embracing Ozai's worldview that human connections are a weakness. And the symbolic self-destruction seems to indicate that this will not end well for her.

But I would say that the final pages are not definitive about what is next for her.

For one thing, the spirit is not destroyed. When Azula continues her journey through the forest where she found the spirit temple, the first panel puts an insect of the same type and color as the spirit's final form in the foreground. So she's mistaken about that, and if we continue to say that it's a symbol of her inner-self, she didn't succeed in destroying it.

When she finds the Fire Warriors -- who she initially said she would hurt for leaving her to go rescue a captured member she had given up on -- she observes their close friendship and chooses to walk away. She covers this by saying, out loud to no one, that they are unworthy of her leadership. Who is she trying to convince? This directly parallels the feelings about Ty Lee and Mai that were explored in her visions. So clearly she's in denial about what she's feeling, attempting to talk herself into a more palatable justification, and has grown from wanting to hurt the Fire Warriors for their disobedience and having what she wants.

Then, interestingly, as Azula walks away, she says she'll find a new place to rule and new followers, and that she always does. This is despite her earlier talk about being the rightful heir to the throne.

I've long said that the dumbest, least interesting way to use Azula in any AtLA sequels (including fanfic) is to have her trying to usurp the title of Fire Lord from Zuko. It plays into the rivalry taught to them by the way Ozai played them against each other, but in the context of the setting, it's a fool's errand. Even if the Fire Nation accepted her, the rest of the world wouldn't, not if she's going to antagonize them. Restarting the war is a no-go, as the Fire Nation has lost its colonies and captured territory in the Earth Kingdom, and now it no longer has a military or technology advantage. I can't buy that someone as smart as Azula would want to put herself into an career dead-end like that.

But it seems, thanks to those final pages, this comic has advanced Azula enough that even though she wants the throne, she recognizes that it offers her nothing in either real power or personal satisfaction. If she really is looking for somewhere else to rule, she's no longer interested in fighting with Zuko over a token that their father had dangled over them all their lives. She doesn't even care what Zuko does with it.

(That's not to say she won't fight with Zuko over other things! Which I would be fine with.)

And she's off to find something worth fighting over, even though she's still very flawed and in denial about a lot of it.

So I think this comic opens up a lot of possibilities for Azula. Maybe she'll continue being a villain, but for smart stakes. Maybe she'll eventually work her way to a true redemption. (I especially like that the dialogue ties redemption with apologies; it's not enough to stop being bad, a true redemption requires acknowledging past wrongs and attempting to make up for them.) Or maybe the continuing AtLA story will do what I like to play with when I write Azula:

Just find a way for her to achieve peace with herself.

Anyway, the more I think on this comic, the more I like it. I'll be crushed when the animated Aang movie makes her a generic villain again. XD

[farlynthordens]

SKB V10 post-reading thoughts

man. MAN. it's really over...

i've thought this probably every fucking volume, but that did NOT go anything like how i expected. it was insane.

after the first chapter, my prediction was that the ending would be a very unsatisfying hard reset of the universe in order to save everyone who died (classic shounen "shoehorning in a way to bring everyone back because we can't handle characters being perma-dead" kind of thing). and while, yeah, that did basically happen, i felt like i was fine with it. maybe because the characters were able to actively choose it for themselves rather than it just kind of happening? and it technically wasn't the same characters coming back from the dead, but their souls being reborn in a new universe and finding each other again.

another prediction i had, based on the inside cover art that was posted pre-release, was that red/bisco and blue/milo fused, hence their appearances. i. definitely did not expect that red would nerfed by transferring her power to bisco and that milo would become a DEATH GOD?? i had a feeling red might get taken out of the story, but i had thought that n'badu would erase her or that when they defeated him, that her timeline would entirely disappear (because n'badu created it) and she'd fade from existence. it is a little sad she didn't get to play a bigger role in n'badu's defeat and milo's death scene, but i also understand from a writing perspective the need to focus solely on bimi and their relationship....

to the very end we never got a bimi on-screen (on-page?) kiss but i am VERY satisfied that bisco finally said "i love you" back, and just the general confirmation that milo was bisco's most beloved person. the scene when milo sacrifices himself and tells bisco to forget about him was fucking heartbreaking. very good choice having art for that moment too.

i was also really happy with bisco's characterization this volume. idk what the hell happened in v9, but bisco had felt REALLY different and just... off in the way he was written, and it just felt bad. but in this vol he felt right in line with the bisco we'd known before.

but going back to milo's sacrifice. i would like for us all to acknowledge that milo finally achieved his series-long dream of dying and going to hell (because he became the literal god of death). and it took a while, but bisco DID join him in hell too. im crying

i also thought it was funny as fuck that in the end bit where it mentions bisco traveling thru space, that wherever he went he'd ask people to read him salt's story bc he couldn't read it himself. lived alone with nothing to do for god knows long but couldn't be bothered to learn kanji. ILLITERATE KING OF ALL TIME

i also had a realization regarding the art, specifically the v10 cover where bimi look fairly young compared to art from the last few vols, and also how artist akagishi k redrew his v1 celebratory art for the release of v10. it was because of the ending where they're reborn and starting their adventure over again. fuck me.

this series has featured a lot of bizarre plots that all of us have made fun of for sounding like stuff straight out of fanfic, but now we can add canonical reincarnation (with and without memories of past lives) to that list. but i guess this also means that anything you'd want to write about skb could be considered canon, bc it could have happened in any of their reincarnations?

but on that note, the v8 epilogue is ABSOLUTELY TO HELL AND BACK RETCONNED due to milo's non-existence. i had figured this would happen, but it is now 100% not the true ending for the timeline we knew. but maybe we can imagine it happened in a different one.

[podfeels]

Podfeels Adapt8ion Notes: Episode 5

hello, dare again! just as a reminder for how these posts work, stagelights will be covering the notes as a whole, and if i ever have to pitch in it will be with purple text like this! with that said, lets get back into it!

just as a side note i love the pun in this episodes title. 10/10 no notes. yeah riley is a hero. anyway i want to say that i dont think i really appreciated this episode enough before now. but like i think it really serves as both a nice bit of respite after the intensity of the previous episode, and as sort of the calm before the storm that is next episode, which i think is desperately needed. 

these first couple of changes were made because roxy’s typos dont work as well when said out loud normally. we changed it to make her sound more like how someone would actually slur their words here. (also, not an adaptational change, but “librarby” is a fucking undertale reference, sarah you sneaky bitch)

narration cuts, and a bit where we changed it because we needed to kind of make the whole “june talks with 8’s” thing a bit more clear, because thats kind of a big deal.

more “call and not text” shit you know the drill. also june fucking said “cripe a doodle dandy” despite everything june is still a massive dork ass nerd.

narration cuts. moving along

this change is actually kind of significant i think, because this is completely new material and not just stuff changed or removed for the sake of replacing narration. junes feeling bad about herself and shit. so, i actually had us add this because i felt it was necessary to get some details of june moping and feeling lonely, yearning for that kind of t4t romance, in order to butter her up for terezi's arrival later on. however, i kind of regret these inclusions now, to an extent. they add a lot to the pacing of the episode, giving her a moment of melancholy at the fire. however! i forgot that she already had a "moping at how cute roxy and callie are" moment. after she wakes up from the trickster rampage retcon, in what will be our episode 7. so i did just decide we needed something, forgetting it would come later. lol.

some more roxy re-slurring, and also re-ordering of stuff for pacing.

elevatorstuck plays here, but otherwise this is fairly minor. disagree! we used the fact she mentions not wanting to narrate it in the original, and me not wanting to put sound to it in our adaptation, to justify turning this into a cutaway gag. elevatorstuck plays, yes, but the scene sound also fully cuts out at the same time. its an auditory version of a TECHNICAL DIFFICULTIES - PLEASE WAIT sign. im proud of this segment and i will NOT allow it to be passed by as "elevatorstuck plays here"!

couple more narration cuts. and that’s it for this episode. fairly simple.

to add to this ending description a bit, i want to gush about what we did with the ending here because im damn proud of it. so, this ending here isnt just ending cuts. we moved the lollipop reveal to be the second to last line, to really get across that its kind of horrific that its here. calliope's trickster sucker is, in and of itself, the scary cliffhanger. and further to that end, whereas the original fic ends that chapter on just that line, i wanted to really hammer it home. so once calliope says that line, the scream from the start of Red Sucker blares out, which then leads into "wherever the breeze takes this", a track from the first godfeels fan album by ash taylor and dj terezi, which was written to be about the aftermath of the rampage. whereas the original text ends on the sucker as a cliffhanger but potential gag, of calliope going "now normally im not so crass but do you want some Hard Drugs?", in our case, with retrospect and a fandom-cultural awareness of what is to come, we took the opportunity to tonally acknowledge where this is actually about to head, and i think it turned out beautifully

_____

so thats it covered! thank you to stagelights for doing the breakdowns for these episodes! check back tomorrow for episode 6's breakdown!

[solarpunkani]

Sonic the Hedgehog and Solarpunk Ideals

Alright, it's June 23rd which means not only is it Solarpunk Aesthetic Week, but it's also Sonic the Hedgehog's 32nd birthday. Let's all say Happy Birthday Sonic the Hedgehog.

Overall, that means it's time for me to do something I usually don't do on this blog--talk about Sonic the Hedgehog, one of my favorite series of all times. Specifically, how I feel it embodies Solarpunk at least a little bit. Hopefully you'll see where I'm coming from by the end of this.

Real quick though, special shout out to @modern-solarpunk for being my beta reader 100/10 owe you my life.

Alright let’s make one thing clear. I’m a Sonic nerd. I’ve been a Sonic nerd since at least the 5th grade. Sonic the hedgehog is one of My Things. IDK if I’d call it a hyperfixation, but it’s definitely one of My Things, and it’s been one of My Things longer than gardening or even Solarpunking and all the other stuff y’all know me for has been. I am about to talk y’alls ears off. Buckle up.

With that in mind, I’m not going to pretend that the Sonic franchise is a perfect franchise made by perfect people working under a perfect corporation. Even ignoring the timeline disasters, retconning, and rushed projects (*cough cough Sonic 06 and Sonic Boom cough cough*), Sonic the Hedgehog is made by a corporation in a capitalistic world who has done some… iffy things in the past, present, and likely the future. We are, here, today, strictly talking about two things--the creation of Sonic and the creation of Dr. Eggman. There will be a super special third topic I bring up later, but that's gonna be its own post. I’ll bring up a handful of things from the shows, comics, movies, etc. If I finish writing and editing and posting this whole lengthy diatribe and someone ignores this paragraph and brings up some inane unrelated shit that the Big Corporation Guys did That One Time Months/Years Ago I might snap. Yes, corporations are bad. Yes, I like Sonic. Let’s establish that.

Ok let’s actually get started.

Sonic the Hedgehog the Dude, Tiny Rebellions, and Freedom

Alright, so Sonic the Hedgehog is a series of games, movies, comic books, TV shows--it's a whole thing, it's an entire franchise. The basics of what you need to know here is that a little 3’3” superpowered anthropomorphic blue hedgehog dude and his array of equally-animalian and equally-colorful friends are ruining the robotics-based evil world takeover plans of a 6’1” egg-shaped human dude on the regular. Occasionally, there are other villains, and other storylines, and sometimes the motivations change, but that sentence boils down the Sonic the Hedgehog storyline to its base essentials. 

The Sonic franchise was dreamed up in 1990 when SEGA needed a new mascot to compete with Nintendo’s iconic Mario. Personality-wise, he’s said to have been inspired by “a modern sensibility of wanting to get things done right away, righting wrongs as they presented themselves instead of letting them linger.” As we currently know him, with Sonic “What you see is what you get--just a guy who loves adventure.” He’s a free-spirited drifter who goes with the flow, valuing freedom above all else and wanting nothing more than to live by his own rules and whims rather than bowing to the expectations of others. He loves interacting with the many cultures on his planet (which we mostly see in Sonic Unleashed, but still), trying local dishes with friends frequently. Overall, Sonic is driven by a strong sense of justice and fairness, fighting for the ideal of freedom rather than the name of the law--and he always fights for the underdog. He likes to handle things on his own, but he isn’t above looking to his friends for help when needed--and acknowledges their role in his life and achievements regularly (if he can be a bit smug at times). He appreciates scenic views and nature, with a special fondness for places filled with plants--we see him do this lots in the series--and he hates when people destroy it for their own gain. He doesn’t hate cities, though, and finds they have their own beauty.

So what’s Solarpunk about this? In my eyes, a good bit. If you don’t know what Solarpunk is, it’s described on Wikipedia as ‘a literary and artistic movement that envisions and works towards actualizing a sustainable future interconnected with nature and community.” Aesthetically, I like to describe it as a mix between sci-fi and cottagecore, with a particular leaning towards some steampunk and some cyberpunk elements, but in a brighter, cleaner, more hopeful way. It's important to note, however, that Solarpunk is also a practical and political action mindset--as much as Solarpunks dream of a hopeful future and work to visualize it, we also work to learn the concepts and take the actions needed to make it a reality. I’m not going to sit here and pretend that Sonic is super politically revolutionary, I’m here to talk about how Sonic fits into the aesthetics of Solarpunk.

As such, lets get into the point--I feel like Sonic is pretty Solarpunk, personality-wise. He just fits a lot of the core tenants--wants to right wrongs ASAP, whether they’re his wrongs or wrongs of the past. He values freedom, traveling, and beautiful natural places--a big chunk of Solarpunk is learning to appreciate and protect the natural species around you, and plenty of people have dreamed up nomadic Solarpunk societies. Even Sonic living by his own rules instead of bowing to expectations fits in Solarpunk--A Solarpunk Manifesto states that “the ‘punk’ in Solarpunk is about rebellion, counterculture… and enthusiasm. it is about going in a different direction than the mainstream…” People in the Solarpunk movement care deeply about freedom, justice, fairness, and fixing the broken systems we deal with today--and often start the legwork by forming or taking part in community-based movements and initiatives. We lean onto those around us for strength and courage, to work as a group to think of solutions to problems, whether that be something small like trading DIY patch instructions to bigger things like planning and creating community gardens to even sharing news about unionizing and more. There’s acts a Solarpunk can do alone--like guerrilla gardening, or moss graffiti, or drawing and writing concepts of a brighter future--but we all know we’re at our strongest when we’re not just one, but many. 

But one of my biggest arguments to Sonic being Solarpunk actually centers around his nemesis--Doctor Eggman.

Doctor Eggman as the Antithesis of Solarpunk

After all, it’s pretty hard to talk about how a hero of a series is Solarpunk without discussing the people and forces he fights against, and most of the time that’s Doctor Ivo Robotnik--better known to most as Dr. Eggman. He was developed more or less directly alongside Sonic the hedgehog, and as such the notes about his creation not only influence his character, but the character and vibe of most of the franchise so far. So who is Doctor Eggman?

Doctor Eggman is often described as the World’s Vilest Person--he’s evil, mean, cruel-spirited, and a self-proclaimed genius scientist who only really thinks about what he wants and what he needs to do to get it--getting pleasure in crushing anything that gets in his way. His main goal is to establish his Eggman Empire across the entire planet and build his own version of a utopia, Eggmanland--usually taking the form of a polluted, smog-filled city or a robotic theme park. His plans have varied from excavating natural spaces and turning woodland creatures into robotic slaves (Sonic 1, 2, 3), using doomsday devices to threaten nations and blow up the moon (Sonic Adventure 2), tie down planets for his own purposes (Sonic CD, Sonic Colors), or even using cosmic forces beyond his comprehension to flood metropolises or literally rip the planet apart (Sonic Adventure, Sonic Unleashed). In the comics and some shows, he even takes it a step further--a common theme with him is Roboticization, wherein people are forcibly turned from organic beings into robot slaves. Sometimes its a machine fulfilling this sometimes-irreversible process (Archie Comics, Sonic the Hedgehog Cartoon, Sonic Underground), while other times its an all-consuming virus that grows out of his control and turns almost the entire planet into raving robotic zombies (IDW Sonic Comics issues #12-29). He’s fueled by delusions of grandeur, believing that all of the world’s problems would be solved if he specifically were in charge of everyone all the time and had things his way, and makes robotic inventions and weapons to obtain power. He’s overflowing with self-confidence and pride, highlighting his ‘scientific genius’ whenever he can. He’ll leave temporary allies to rot if it gives him a chance to take all the credit and power for  himself, he looks down on everyone else and sees them as insignificant, only interested in what benefits him. Fairness and community? With Doctor Eggman? Forget it, he’ll steal candy from a baby and then turn it into a robot if given the chance. And even with robotic helpers he makes himself, he quickly gets sick of them--Eggman doesn’t do friends. 

I’d compare him to Elon Musk, but at least Dr. Eggman is actually a genius.

A Solarpunk Manifesto was published in 2019, describing Solarpunk as “A movement in speculative fiction, art, fashion, and activism that seeks to answer and embody the question ‘what does a sustainable civilization look like, and how can we get there?’”. Eggmanland is not how we get there--Doctor Eggman is an embodiment of everything the Solarpunk ideology stands against, and not entirely by accident. Here’s a quote from Yuji Naka, one of the creators of Sonic the Hedgehog.

“Robotnik was created to be the opposite of Sonic, and to be the bad guy. At that time, there was opposition between "developers" and "environmentalists", and Robotnik was created to represent machinery and development.”

He represents it pretty well--his common motifs are imperialism and pollution, and his version of a utopia is often reminiscent of pre-EPA photos of US cities. Sometimes its done to a cartoonish level--but the point still stands. Whenever we catch glimpses of Eggman’s ‘Home Bases,’ whether its Scrap Brain Zone in Sonic 1, Chemical Plant in Sonic 2, Metallic Madness in Sonic CD, or elsewhere, we’re always seeing tons of mechanization, smog, pollution, and death robots.

Solarpunks aren’t opposed to technology--not in the slightest. But I feel its safe to say that any Solarpunk would be opposed to the over-industrialized, hyper-mechanized, pollution-riddled empire hellscape that Eggman would call heaven. (And you know damn well he'd be all over those Boston Dynamic robot dogs if he were real). To me, Eggman represents the grim-dark futures that apocalyptic stories tell us we’re barreling towards--the darker, less sunny side of the already dystopian cyberpunk genre. Solarpunk is the sun that burns away at smoggy futures, the light that reveals what we can have instead, the ideas that lead to actions to secure it. Its hope in a bottle--hope that we can enjoy and add to, a dream that we can help make into a reality. The ideals are chock full of resisting the real-life Eggmans who want to send humanity into a nose-dive of mechanization and energy-burning self-destruction for the sake of short-lived profits and smug ego-trips. 

Is Sonic a strictly Solarpunk series? I wouldn’t necessarily say so. But I think if the themes and terms had existed in 1990, it certainly would have been cited as a bit of an inspiration. Whether the Solarpunk community would have been chill with a corporation citing the term as inspiration is a whole other deal.

Stay tuned for this posts' sequel, where I talk about how I feel my favorite game in the series--Sonic Colors--is Solarpunk.

[demonsfate]

If we're being real, Tekken could probably highly benefit from a reboot due to the current many, many inconsistencies and retcons. But I wanted to talk about what I think might be the most inconsistent part of the lore, and that's the devil gene. I know I've brought up many of these before, but I really wanted to compile them all in one post just to point out how one of the major plot points is a mess.

When Devil first officially debuted in the game, he debuted alongside a character named Angel. Devil was your typical Satan character - he wanted to influence Kazuya's "dark side" whilst Angel wanted to save Kazuya from this. Typical Angel vs Devil story. In the original canon, it was believed that after being thrown off a cliff by his father, 5-year-old Kazuya made a deal with the Devil to give him the strength to survive the fall and later get revenge off his father. This is mostly an OVA thing, which is a noncanon movie, and I can't really find many sources that state this actually happened in the game.

In Kazuya's Tekken 2 ending, we watch Kazuya fight Devil.

Heihachi even saves Kazuya from one of Devil's blasts. Although this ending is noncanon, it still shows that Devil and Kazuya are two different people.

In Tekken 4, despite having Kazuya's full appearance, Heihachi acknowledges Devil as a completely different person, and doesn't even recognize him as his son.

Kazuya also starts fighting back against Devil in this same story.\

And they refer to each other as different people. This is also why Devil Kazuya is no longer a separate playable character in future installments but Devil Jin is. Because Kazuya "ended" Devil right here, and became "one" with him. (Or more accurately, just took his powers)

This not only further cements the idea that Devil and Kazuya are indeed two different beings. But also implies Devil isn't really his name, it's just what Heihachi (and other humans) call it. This will be important later on.

This is a lot of explaining but it's needed for the context of what I'm about to discuss, because this is where the retcons are about to begin. And the Devil Gene lore is so complicated, many fans are still perplexed by it, and still debate it. Therefore, I want to really explain this so no reader forgets anything when viewing this post.

Originally, it was evident that only one devil would exist. Which also makes Devil feel like he was Satan himself rather than one of many servants for a future Satan [Azazel] As after Kazuya dies, his son, Jin gets possessed by Devil. As seen in the opening of Tekken 3.

The Devil's silhouette is purple, which doesn't align with the future Devil Jin. Devil clearly possessed Jin because Kazuya "died" and it needed a new host. In original canon, Jun actually met Devil and would fight him off from possessing Jin in the womb. Jun's files were leftover in the arcade version of Tekken 3 because she was possibly gonna be in it, meanwhile Kazuya's were only leftover to test Jin. You can find the source at The Cutting Room Floor page for Tekken 3 Arcade here. This further cements that Devil needed to possess Jin because Kazuya is dead.

So... what happens when they decide to bring Kazuya back in Tekken 4? Well... hold on to your hats because this is when the lore starts getting messy!

Kazuya was revived by G-Corp, and Devil himself revealed that only half of him went to Jin. Devil also seems upset that he can't get his other half. This brings up a lot of questions such as: If Devil stayed with Kazuya all along, why did half of him even leave in the first place? Why not just... keep staying with Kazuya? Did that other half just thought G-Corp shenanigans were boring? Like if Devil is so infuriated that Jin won't give up the other half, then...

Why did his other half leave to possess a Kazama? Like he's clearly aware of Jin's connections with the Kazamas / Jun. So...?? The real reason was, at the time, the writers had written that only One (1) Devil existed and there weren't multiple ones. So when they brought back Kazuya, they had to have an excuse as to how Jin and he can have devil powers at the same time. But don't worry about this, most of everything I say gets retconned later.

Devil Kazuya and Devil Jin being the same entity has probably been retconned since Tekken 5. Seeing as in Tekken 4, the reason why Devil wanted his "other half" from Jin so badly was because he couldn't change into his devil form. This is seen in Kazuya's NONCANON ending.

See? However, the beginning of Tekken 5 instantly contradicts this when Kazuya goes devil form to leave the Honmaru building (despite never getting that supposed "other half" from Jin)

And after this, the whole Kazuya needs Jin's devil gene plot is completely dropped. In both games where they heavily oppose each other, it's never mentioned again. Kazuya opposes Jin because he just wants to be an asshole and take over the world, he never mentions he needs something from Jin. He may say "the devil's blood should course through these veins only" but that's more so him stating he believes he's the only one worthy of the devil's power, and not anyone else.

This is the end of one singular Satan Devil, and the start of devils being a "hereditary" thing. This is the beginning of Multiple Devils.

Now this causes even more confusion among fans. Because before, it was clear Kazuya was possessed by a Satan archetype, but now we question if devils are actually different entities, or if they're just the person but "corrupted" / "crazy".

In Tekken 5, for example, which is game where Devil Jin debuted as a playable character, Devil Jin stated he is indeed Jin, he's just "taken control." Perhaps similar to Kazuya in Tekken 4. Whilst this may still imply devils and the hosts are separate entities, it does lead fans to believe that Devil Jin is indeed just Jin, but lost his mind to the gene / rage / lust for power.

But in the very next game, Tekken 6...

When playing as Devil Jin in scenario campaign, Nina doesn't acknowledge Devil Jin as Jin. She even threatens to take him back. When confronting Lee, Lee asks if Devil Jin was "really Jin Kazama underneath all that," the script is flipped - Devil Jin seems to take offense by this, and implies Jin is very "weak" and was "killed" within. This also correlates with Tekken 8's dialogues from Devil Jin-

Telling Jin to "disappear into the void" and also expresses great joy when defeating Jin as he saw Jin as something that "held him back." So the concept of Devil Jin went from Jin taking control of the devil and being Evil, to Devil Jin being his own guy and taking the body from Jin. In Tekken 6, it's also revealed Devil Jin doesn't share memories with Jin. So Jin doesn't remember the things he did as Devil because he was in a "blackout rage", but Devil also doesn't share Jin's memories - again, because they're two different people so they wouldn't.

Back to Tekken 5, it also strongly implied that Jinpachi also had the devil gene, and Heihachi was just unlucky as it "skipped" him for some reason. This also shows how Tekken 5 further retcons the "single devil" fact by giving us another devil, and there's no way he can just be another "part" of the original devil possessing Kazuya.

As Heihachi literally mentions Devil blood. Jinpachi couldn't defeat him back then as a human, and Jinpachi can't defeat him now as a devil. This is also something that will be retconned.

In Tekken 7, it is revealed that nope, it's not the Mishimas that passed down the devil gene, but it was actually Heihachi's dead wife, Kazumi who had the devil gene. This lead to other major retcons, such as the entire reason why Heihachi threw Kazuya off a cliff. And the devs now claim that Jinpachi never had the devil gene, but instead was just possessed by an evil spirit. With their constant retcons, I don't even know why they bother with trying to pretend they're not making this up as they go along. How in control Kazumi was is unknown, and how different Devil Kazumi was from her host is also unknown. However, considering Kazumi refused to kill her husband, to the point where Devil Kazumi would make her "fall ill" to take over, it's safe to assume they do have different motives like the original devil and Kazuya did, as well as Jin and Devil Jin seem to.

Ready for more retcons? Because it's not ending here! Tekken 8 has cursed blessed us with even more!

To get the quick stuff outta the way - Devil Jin says this to Jin whilst fighting him. I think this is the final nail in the coffin of "Devil Jin being the other half of Devil Kazuya and there was only one devil." As in original canon, Devil would try to fight Jun to possess Jin - but it didn't happen until Jun "died," and Devil finally got his chance when Jin was 15-years-old. However, in NEW CANON, he states here that they've been together since THEIR birth. This now means the devil gene is indeed hereditary and everyone with it is born with a devil. It just seems like the devil doesn't really "awaken" until they're at a near (or actual) death experience.

Jin has flashbacks to every time Devil [Jin] takes over or tries to. Jin realizes this wasn't Devil trying to control and harm him, but rather protect him. Jin then proceeds to apologize and gives his thanks to Devil. I feel this is a much larger retcon than a lot of fans realize. As many fans seem to think it's a clever plot twist that "ohh, Devil acted that way because Jin rejected him, and if Jin accepted him all along - then Devil would've been more benevolent!" and some also believe that Devil represented Jin's unwillingness to accept himself and his sins (Tekken 6 mostly lmao). But... this totally contradicts the other games regardless if Jin accepted himself or not. What about Tekken 5? When Jin said he could feel the gene trying to "eat away at him" and if he didn't take it under control, it'll consume him whole? Jin didn't even do anything bad at that point. Sure, maybe that could be argued it wasn't him accepting the devil part. But... what about how Tekken 5 literally depicted him as Jin but having taken control of the devil? Tekken 5 demonstrated that the devil gene corrupts not protects. There was never ANY indication the devil gene protected in the previous games. In Tekken 2, Kazuya's Devil was trying to purposely manipulate him to be bad. If Devil Kazuya wasn't actually evil to begin with and was only shaped that way because of Kazuya's mindset, then... why did Angel oppose Devil so hard? Clearly the fight between Angel and Devil was supposed to be Good VS Evil. In Tekken 6, they made it a point that Devil was disgusted by Jin and had no intents on being his guardian devil.

It was evident before that devils were always intended as evil and self-serving. Tekken 8 changed this for a "forgiving and accepting yourself!" story. Which may seem fine on the surface, but in the end, it kinda ruins a lot of the lore it had before and also makes it inconsistent again. It also hurts both Kazuya's and Jin's story. As it makes little sense for devils to not be inherently bad, yet Devil [Kazuya] be depicted that way in Tekken 2? It also does make Jin an even bigger fuck up as he'd push his friends away, experience horrible nightmares, live in constant fear of losing himself, to uh... something he could've just sat down and have a conversation with and realize that it's "good" for him and not bad lol. Never mind those nightmares he was having in Tekken 5!

This was a long journey, right? There were so many changes made to the Devil Gene, I just had to thoroughly point them all out! It's clear with these changes that the writers had no idea what they actually wanted to do with the devil gene, and for the longest time, not sure how to explain it either. Which is funny, given how crucial it is to the main plot and our main characters. Since this is probably the longest post I've made in a whiiile, lemme give a TL;DR quick rundown of all the changes and how they contradict each other!

WE WENT FROM: Devil being evil and a possessing Satan and later using this power to possess a teenage Jin after Kazuya died, to Devil being split in half, to there being multiple devils for every host at birth, to the Mishimas being the source of the devil gene, to Azazel being the technical Satan and "creator" of the devil gene, to Jinpachi not having the devil gene and the Hachijos being the source of the devil gene, to Jin controlling the Devil Gene, to Devil Jin being his own entity, to devils being sadistic and self-serving, to devils actually being a good thing and are guardians.

No wonder why people get so confused by this, huh? Well...

HAPPY EASTER EVERYONE!

[tweedledumandtweedlebum]

Yesterday’s EE episode - and some comments on YT - left such a bitter taste in my mouth that I really need to rant about it to get it out of my system. 

[feel free to give this a miss]

First of all, whenever queer people state they feel insulted, it’s not a straight person’s place to tell them they shouldn’t. You just acknowledge their point of view. If a woman makes it clear that she feels offended by wolf whistling, a man doesn’t get to tell her she should, in fact, feel appreciated. That’s mansplaining. If same-sex parents are complaining that the PR storyline is homophobic, straight people just don’t get to tell them they are wrong. This is straightsplaining - you insist doing that, you’re an insensitive jerk, end of.

Regardless of your sexual orientation, it’s actually quite easy to demonstrate how little sense this PR makes even from a logical viewpoint. Imagine Ben was married to a woman. Imagine that woman had been acknowledged by Lexi herself as a parent and called “mum #2” because they have established an affectionate relationship right from the start. Picture that woman as a caring, emotionally stable, reliable person, perfectly capable of supporting her struggling husband AND looking after his little girl. Now, try and imagine this woman is given no legal rights over her stepdaughter, while actually being SHOWN on screen caring for her, making her breakfast, walking her to the bus stop, getting her clothes ready, giving her money for lunch, asking about her first day at secondary school, supporting her in moments of distress… Imagine she’s NEVER mentioned by the other characters regarding the girl’s parenting, because everybody goes on about how good a parent her mom’s widower is, and how lucky her father is to have THAT man (one the little girl calls “uncle”) to help him raise THEIR(?!) daughter. You picture THAT and you tell me you consider it normal? acceptable? realistic? SERIOUSLY? Since - let’s be honest - it would hardly happen with a straight stepmom, it shouldn't happen with a queer stepdad either. Since it IS in fact happening, we have every right (but also the civic duty) to expose it as plainly discriminating.

That’s not all. In order to make this nonsense believable, the audience is being gaslighted into thinking that the relationship between Callum and Lexi was never that close, whereas the girl has ALWAYS considered Jay as a sort of parent. Thus, Callum’s role and presence in Lexi’s life has been consistently diminished, sidelined, erased for a long time now. Since the beginning of the PR sl, Lexi’s “Dad #2” - “There’s no one in the world I’d rather have as my other dad” - “My dad is a gangster and my other dad is a copper” etc. have been totally and unforgivably retconned, while AT THE SAME TIME Callum is shown over and over again to be the sensible one looking after Lexi on a daily basis while Ben and Jay also fight their demons (though Ben has undeniably shown incredible character growth). Yesterday’s episode (18th January) marked an all-time low, with Callum interacting only with Lexi of all the people at the party, and being ignored by everybody else. The only instance when his husband acknowledges his existence and briefly glances at him, Callum’s not even on camera. And then, guess who is asked to bring Lexi “home”? The loving husband/stepdad who’s shown unconditional love for both Ben and Lexi, and can always be relied on? Of course not, it’s the brother/uncle with PR who is just a guest in that home! I can’t help feeling crestfallen for Callum’s character and fed up as a fan. This is crappy writing and horrible storytelling. While as a Ballum fan I am properly insulted, every viewer that considers themselves fairly intelligent should feel at least a little bit annoyed.

And for those who are going to object by pointing out that it’s just a silly soap opera after all, and we’d better not take it so seriously… you’re not wrong, of course. However, no matter what you think, storytelling actually is a serious matter. Stories affect people’s lives and perceptions. Stories have the power to widen your horizons. Stories may encourage you to adopt a different perspective on reality. Stories might surprise you by making you identify with characters that are as far away from your real self as possible. Stories have the strength to enhance certain values and eradicate others. We don’t read our children essays to teach them about life, relationships and values… we read them stories. 

Credits to Ballum Official on YouTube.

[seth-burroughs]

The Rain Code x Warriors au no one asked for nor will receive an explanation for

What's up I'm still doing bad and feel my last year's mystery stress sickness is coming back and none of my drafts are anywhere remotely close to getting finished anytime soon because of that how are you are you interested in cat

(picked the TPB timeline because it makes the most sense and has the most fitting characters, but I might cheat or bend it a little, we'll see)

Yuma Kokohead -> Rusty/Firestar

Main boy :) because of course he is. Yuma's now an orange cat. Firestar was the name of Number One, and Rusty (canonically Fire's old house cat name, I'm not calling them kittypets I'm sorry) was the name of the trainee he very politely borrowed his identity for.

Makoto Kagutsuchi -> Scourge

In wc canon, Scourge is also Firestar's half-brother (but they don't ever knooow) and they both kill each other + he's canonically stated to be VERY short like one of the smallest cats in the series. After the cloning, Makoscourge painted his fur completely black except for a one white paw (for the aesthetics. or maybe I'll just give Fire a white paw as well, kinda like Yuma's and Makoto's lil ahoges), started wearing the "OwO" mask, the dog tooth studded shrimp color collar, the fucking blood dyed amv bangs, the dog tooth reinforced claws........ The former CEO took him to hot topic for the first time in his life and he was fucking MESMERIZED none of them knew what they have brought upon themselves by this single act. He is a very silly man, lost in the whimsy. When his mask gets pulled off in the Mystery Labirynth, his face is just not dyed at all and it's just ginger with green eyes just like Rusty's/Firestar's/Yuma's/whatever.

Shinigami -> Spottedleaf

In canon, Spottedleaf does infamously end up haunting Firestar's dreams as a ghost to send him cryptic visions and furiously make out with him in front of his pregnant wife, he did have a crush on her before she died and I'm pretty sure she was retconned into reciprocating it was real bad and then they double killed her so Fire won't have to choose between her and his wife in heaven it was REAL bad uhh. I still like her though. I can get you out of the narrative girl just take my hand.... She can be the weirdgirl incarnate she was always meant to be. I wanted to say something else but then I realized holy shit I'm just tweaking her into Bonefall rewrite Spottedleaf am I... What can I say it IS peak Spottedleaf.

Yomi Hellsmile -> Tigerstar

Also extremely obvious. He is evil and has immaculate sexual tension between the protag whoops sorry I forgot literally only me and like 2 other people here ship Yuma and Yomi uhh anyway. While it does fit I'm a little dissapointed that Yomi/Tigerstar is gonna be losing so much of his cringe charm..... Like, say goodbye to deeply unserious insecure prettyboy toothpick Yaoi with silly little insults such as "umbrella sewing machine man operating hand hook car table" and how do I even describe all of this in less than 3 paragraphs. Say hello to broad-shouldered muscular extremely intimidating 100% serious and competent fascist built like a fucking brick shithouse with very broad-shoulders that doesn't need a henchman boytoy to handle all his numerous murders, have I mentioned his massive fucking broad shoulders, Firestar sure did do that a lot. It's like, where's the fun..... Whatever.... I guess...........😔😔😔

Martina Electro -> Leopardstar

Now for an assigned role I'm way more cool with >:)))) for an outrageously long while I had trouble with whether Martina should be Sasha or Goldenflower, fool I was, until I remembered Leopardstar fucking exists. She is literally perfect like I cannot state this enough. AND canonically she was later retconned to have feelings for Tigerstar but I hate to acknowledge it how dare you massacre Lep like that. She can still be his gf alongside vice director though, she's just engaging in acts of deceit whilst putting opioids in his food and trying her darndest to convince herself she's actually 100% in control of the situation before she's dragged to the cube dimension and has a brief "are we the baddies" moment. I don't think she still resigns from being a peacekeeper though Leopardstar 100% would take that fucking promotion the moment she's offered it and a year later when she' done feeling guilty regresses back into being a violent asshole she has learned NOTHING❤️

Fake/Hitman Zilch -> Darkstripe

So many dissapointments happening here sigh..... This one was obvious and honestly the only valid option for FZilch aside from maybe Nightwhisper or Blackfoot? Anyway, the downsides: one, Darkstripe will never be as cool as fake Zilch he thrives on being a cringe mistreated lickspittle. Two, he's definitely not one of Tigerstar's "closest advisors (🏳️‍🌈)" whilst Dark is pretty obsessed Tiger does not give a shit and considers him a looooooser boooo lameee fuck you *canonically swats him away with his tail that one scene*. But, I mean, at least the toxic yaoi became an entire new category of toxic.

Swank Catsonell -> Brokenstar

Pure vibes. It just fits. He employs small children and makes them fight to the death in his office for glory

Seth Burroughs -> Longtail

In canon, another one of Tigerstar's lackeys that didn't know about his crimes and when he found out he immediately left. I thought he was not evil enough to be Seth at first, but it kinda fits and he does make up for it in his cringe value and being noted to be a coward, though that may have been just Fire's opinion. Also, with all the bunny Seth Burrows jokes, I'd like to mention Longtail got his eyes clawed by a rabbit so hard he went blind so do with that what you will

Guillaume Hall -> Russetfur

Aaaand this is where I started having trouble with the remaining peacekeepers. Eventually I settled on Russetfur & Blackfoot/Blackstar for Guillaume and Dominic, because I like this danger duo I and some of the fandom completely made up about them. It's okay, the authors don't know you like we do...... While Blackstar did have a higher rank and Russet was his deputy, I do think she still had at least an equal amount of power as him, they're buddies pair bonded for life Blackstar is nodding respectfully to whatever incomprehensible wisdom she's sharing

Dominic Fulltank -> Blackfoot/star

In canon, started out as a murderous henchman of two major equally murderous evil dictators, before they both died and he finally got that boss promotion he always wanted, then he got ruined by the, you guessed it, retcons, but I don't like to be reminded of his atrocity of a novella. I always imagined Blackstar as like, unbelievably jacked holy shit the muscles on that cat, (and honestly most of the fandom does too so. lmao) and he does indeed canonically unflinchingly do the dirty work of all his bosses such as killing and maiming and destroying an

You get the point. He serious'd. Darkstripe wishes he could be him. And I'm pretty sure that was even canonically implied in the sixth book lmaooooooooo. Loser <3

Dr. Huesca -> um. Goosefeather?

The looks definitely fit, Dr. Huesca indeed bears striking resemblance to that tortured feline. However, while sometimes an asshole, Goose is definitely not evil... But he could be. He deserves to be. As a treat. Also: old man pride

Kurumi Wendy -> Cinderpaw/pelt

Easy, get Cinder'd idiot. They even have a pretty similiar energy too, I feel. This is where I got a bit tired, uhh...It's 11pm. Anyway I love Cinder and I love Kurumi say anything bad about them and I'll start scream crying on the floor

Halara Nightmare -> Yellowfang

Halara gets the old beam. They're now in their fucking 60s or something perhaps 70s. Yellowfang, on the other hand, gets the non-binary spec beam. She already gave off massive butch vibes in canon already, whatever. I don't think I can uhh in short terms explain Yellowfang's whole deal rn but the gist of it she's a very snarky grandma figure to Fire that gradually warmed up to him while she was- my cat vomited. While he was assigned to take care of her while she was taken prisoner into ThunderClan camp. Her personality's pretty funky. And she does seem cool enough in order to deserve to be Halara Nightmare.

Desuhiko Thunderbolt -> Graystripe

I think I'm taking a break and coming back to this tomorrow actually after all. Hello this is tomorrow Jasper. In canon, Graystripe is Fire's silly goofy boybestie when they're young, then he starts secretly dating Silverstream - hold on i can't fuvking take tjis im making myself hot cocoa again bye. Ok it's done let's see if that makes me feel something. As I was saying he's dating this cat and she's from a rival Clan so that's illegal forbidden love and then she dies during childbirth and he leaves his own Clan for a while to raise their babies there but then he gets exiled and goes back to his own and then his kids almost get publically executed for being half-clan so he and his buddies rescue them. And then he gets abducted by humans and meets this new gal called Millie and they start dating and then she gives birth to his new babies and then a tree falls on one of them. I'm pretty sure Fire was also pretty gay for that guy. Uh, anyway. I think he fits the bill because of his goofy charm but also it's pretty disturbing to imagine any iteration of Desuhiko actually getting bitches

Fubuki Clockford -> um. uh. Silverstream?

Silverstream, in canon, is the only daughter of Crookedstar, the leader of RiverClan, and is (implied to not having a problem with) getting various privileges because of this. Fits with Fubuki's rich timelord parents, plus light blue aesthetic, and a few other things which are hard to articulate. Only thing is that she's generally way more headstrong and impulsive than Fubuki showed to be, could "bend her father to her will with little effort", and disrespects the law if it's stupid to her which, queen shit. I think she'll play a lot of little pranks with her time powers, and devote her free time/time with YumaRusty when he's accused of terrorism crimes (but that's just unrestrained summer fun anyway) to absolutely decimate any peacekeepers they come across with some looney tunes shit

Vivia Twilight -> I'll be honest I have no fucking idea

Zero fucking idea. Literally NOBODY in this arc fits for the 5D chess of a character Vivia is. I'm not even sure if in any of the books. Help me. But also I don't really care because I don't even like Vivia at all anyway he freaks me out get him away from me.

Yakou Furio -> Bluestar?

Protag mentor figure except Bluestar is actually doing a good job at that until she loses her marbles after her mid-arc torment gauntlet and has a corruption arc until she drowns and gets healed of all her issues momentarily before fucking dying. She has a dead husband, dead mom, dead sister, dead baby, dead deputy, dead deputy #2, dead bestie, holy shit that's a lot of motives for suicidemurdering Huesgoose. Btw Goose was her weird voice of god hearing uncle in canon (and he was also dead) but I'm probably taking it out unless. Anyway she's kinda too good for Yakou but. They're also both blue like that is a blue cat

And for some side characters, keyword some:

Aiko -> Littlepaw/cloud

Aetheria's now not an all girls school anymore sorry I cannot do this guys. Littlecloud was Cinder's/Kurumi's good buddy and I like their friendship. Unfortunately, you know what that means.

Karen -> Swiftpaw

Originally was supposed to have Aiko's place before I remembered Little exists. In canon his most notable moment was dying brutally, which I mean also fits the Karen quota. Plus, while not an asshole per se he does have a more fiery/overall angry personality and he did try to impulsively take on a pack of dogs to prove himself and fucking died, if under enough pressure I'm pretty sure he could smash Aiko's/Littlepaw's head in with a brick too👍👍

Yoshiko, Waruna, Kurane -> Brackenpaw/fur, Thornpaw/claw, Brightpaw/heart?

Siblings in canon and two of them are guys so no murderous yuri I guess :(( But I mean I don't have to follow canon to a T anyway lmao so we'll see. In canon, basically the other three remaining apprentices along with Swiftpaw and the ashfern siblings, plus they do function as a trio via just being sibs. Plus some notes from the books: Cinder is the fourth sibling. Brightpaw follows Swiftpaw in his quest to slay the doggy and while he dies she survives but gets her eyeball and half of her entire face's fur torn off.

Real Zilch -> Redtail

He's very dead. Very, very dead. His most iconic moment was dying abruptly and tragically via murder rip in rest

Kei Colan -> Snowkit

He is a child. That's a little boy

Snowkit, signing furiously: MY MAMA GOT FRAMED AND IS GOING TO BE PUBLICALLY EXECUTED BY THE PEACEKEEPERS IF NOTHING IS DONE PLEASE HELP MEEEEEEEEEEEE. HELP MEEEEEEEEEEEEEEEEEEEEEEE

Yellowfang, signing back in swagful motions: and how much cash does your mama have on her currently

Jiei Colan -> Speckletail

Snowkit's very old mama. Looks like she could kill you but genuinely does not have a body count. Yet.

Ramen Stand Owner -> Ravenpaw

Ravenpaw in canon hit the bricks and ran away from the Clans due to being in danger there, and lived out the rest of his days on a farm with his cowboy boyfriend Barley mostly free of drama. I'd say that fits lmao. We can make his old name Rusty, not a problem.

Margulaw -> Pinestar

90 year old voice "yeah so uhh my fucking son grew up to be a dictator now. When he was a newborn ghosts were yelling at me to kill him because he'll grow up to be a bad man otherwise and of course like any sane kanaiwardian father I said "fuck that" and had to leave ma' family behind run away from the company so the demons would shut up. And y'know little buddy... Sometimes I wonder. Sometimes I just can't help but. Y'know. Anyway. Sigh."

Do you get my vision did that sound comprehensible

[fandom-trash-xl]

EPISODE 2: GLORIO

Episode 2 time! Let's get this show on the road!

Firstly, an interesting thing they added about Shenron- apparently his multi-wish capabilities are a bonus for the regulars and any new users only get one. I'm seeming to notice with Daima that they seem to come up with a lot of new rules for the lore at the drop of a hat- many of which contradict what we've seen in Super, so it's very interesting how the show's really trying to make itself its own new branch.

I mean, we still have the Universe numbers, but the Supreme Kais travelled over from the Demon Realm. And aren't they born from the special fruit? Does siblingship mean they came from the same branch? Was it travel by choice or were they sent over? Are the Gods of Destruction retconned- now that I think about it how do they get linked up? I'll need time to think on this.

Digressing...

Turns out Mr. Popo has horns and Dende was still considered a child enough to be turned into a baby. When is Namekian maturity? Apparently, he's too young now to power the Dragon Balls. You'd think Shenron would have a self-preservation maneuver to prevent self-destructing himself with this wish.

Bulma's taking the whole shrinking (also they're acknowledging it as "shrinking" since, while they have younger bodies, they have adult mental maturity) situation surprisingly well- plus we got confirmation that's she's coming along for the Demon Realm adventure! I guess it'd kinda be like with Namek where they need a pilot, but hopefully, since she seems rather active in the OP and ending animations, it won't be a "watch the Dragon Ball for us, bye!" while she has a filler-exclusive killing crabs in the ocean moment (oh who am I kidding, I'd like to see the giant crab fight).

Kibito is officially Bulma's errand boy.

Goku can't sit still for a few days and is still trying to get the hang of his distance judgement and flying, all while everyone's having their lore meeting. Then, he comes up with the idea to grab good old reliable, the Power Pole (I honestly forgot it was called the Nyoibo)!

Turns out with everyone flying nowadays, they no longer need it to get to the Lookout, so Korin gave it to Master Roshi, who, in tribute to the gag manga roots, was using it to hang his laundry.

And speaking of these guys:

Korin's apparently not enough of a "friend" to be affected by the wish, unless he's never grown in his life and he's always been like that, so he didn't notice.

Master Roshi is still kinda weird and flirty, but I'm at least glad that in the areas with the potential to be absolutely creepy, they kept him toned down. I think he did a little heart chu at one of the waitresses, but I think that's it. Though who knows what he'll do on his planned "night on the town".

According to the lore, pointy ears are usually a good but not universal indicator of someone being from the Demon Realm. Five minutes later, Shin then proceeds to assume Glorio's from the Demon Realm based on the pointy ears (I mean, Popo did mention the ship-plane looking similar to Gomah's, but still, they did the emphasis zoom-in).

Anyway GLORIO! For an episode named after him, he sure wasn't there for most of it.

Apparently within the Demon Realm, there are individual Demon Worlds and Glorio's from the third one. He also has some motivation to defeat Gomah. That's pretty much all we know since that's enough for him to pass the stranger-danger check.

Glorio's ship plane is too small for the whole gang- though Vegeta is very insistent on squeezing in there- so they'll have to go in two waves, Vegeta, Piccolo, and Bulma coming along once Shin's old spaceship is fixed. ...I'm foreseeing maybe one or two episodes of Goku and Shin adventures until the full team reassembles.

RIP "Hey, it's me, Goku!"

ALSO Where's Gohan? Where's Videl? Where are they during all this, frightened, scared, and confused?

I'll start the tally:

EPISODES WITHOUT KNOWING HANVI'S WHEREABOUTS: 2

[katyspersonal]

Uuuuugh,,...

(A small rant about Miraculous Ladubyg)

Okay I've finally got up my arse and started watching 5th season of Miraculous Ladybug. There are so many cool things and developments, but I just got to the fuckin. ugh. episode where they retconned Marinette's genuinely weird stalkery obssessive problems over her crush as result of the trauma that Chloe caused to her on previous studying years. And I actually had Frenzy attack and need to pause from the weird headache.

"But wait Kat, it is a good message that having sympathetic reasons for questionable behaviour doesn't extempt you from guilt" Well it sure is..... except it doesn't work on Marinette apparently, because Thomas wants his protag to be basically flawless and never have her flaws truly addressed. And it sure doesn't work on Chloe, because she DOES have sympathetic reasons for being a school bully as a girl who is 14-15 (and was like, 13? and even younger? when she was a bully?); she has god fucking awful oppressive mother that kept neglecting her and garbage father that spoils her and never disciplines her! I still feel extremely bigger over the fact that they were trying to write Chloe through an interesting and valid arc of acknowledging her awful behaviour and changing to the better, but then Thomas stepped in and assasinated her character to make his point about how some people will never change because they can't give away their privileges. And like, okay, fine. But why at the expence of the abused and neglected spoiled teenage girl? And it was the worst part how he also tried to gaslight the audience into believing it was planned this way from the start when it wasn't.

Honestly, the easiest thing to do would be writing a new character to deliver this point about how "some people will never change". Heck, keep the trauma but make Kim 100% responcible instead of just making him a dumbass goof folled by Chloe, keep the stepsister thing but make HER the new spoiled bully one that was disappointed her sister became nicer and more down to earth with "peasants". Retcons in the TV shows cause me headache in general, but completely wrecking the pre-existing already built character to be hip with the kids and making her speak like such a caricature that NO real life bully could ever be this one-dimensional and bland is just awful. I feel like this is the actual case of the writer abusing his character, like... this show just feels like it is way too happy to keep beating Chloe up by making her so unrealistically evil that you just don't believe this writing. After having written her in seasons 1-2 as a realistic complex character that was an asshole but interesting and explained. And in the end, the worst, THE worst part is that in the end all it really does is absolves other characters from guilt and agency over their mistakes, flaws, negative emotions etc etc. Because everything is fucking always a fault of a teenager girl that the writers just hates so much.

I'll go back to watching it, and I hope there will be some cool development and improvement later that could help to undo this bitterness. :/ I am sorry it is the second time I am ranting about how Chloe was treated as a character, it is just something I deeply hate writers doing. Besides one (1) of my mutuals watches this show too xd Basically 1) do not retcon previously well-written characters to make a completely new point, just write in a new character (which applies to both Chloe AND Marinette) and 2) do not make a literal 13-to-15 years old character as stand-in for everything awful and wrong with the setting, this is just fucking cruel lol.