#it's just not even nice for the writers?

[rawliverandgoronspice]

given that seems to be the new popular take in the fandom at large since totk got out: let the record show that I'll gladly let myself get repeatedly manipulated by the wind waker speech and be foolishly moved by its implications over rejecting space for humanity and vulnerability in the monstrous and the dispossessed, and then feeling weirdly smug about severing that fleeting attempt at connection and deem it obviously insincere

[benevolenterrancy]

Scholarly peak is catching up on recent literature

[moodymisty]

I want to open requests again but also, I have like zero confidence to write anything at the moment.

I dunno i keep hearing people talk about how they hate when writers do this or hate that and this headcanon is the worst, everybody dunking on something, and I keep seeing it in my stuff. I just don't have much confidence in making anything that people aren't gonna find cringe and poorly made and miserable to read. Like why would I take all of your ideas when someone else can/will just do them a million times better then I ever could without all the stuff that makes my writing annoying to read.

I'm not looking for like sympathy or anything, I just wanted to give a warning if you don't really see much writing from me for a bit.

[hauntingofhouses]

Thinking about the crazy love triangle situation in Blue Eye Samurai and debating heavily with myself on how I'd like to see it conclude. And yeah this discussion can be thought of purely as shipping, headcanons, and fandom fun. But when analysing the show and engaging with it in a more in-depth, almost-literary level, it's impossible to dismiss who Mizu's potential love interests are and how different endgame romances would affect her character arc and the overall story and themes.

So in this post I'd like to look at the love triangle a bit more closely, and speculate on where the story will take this.

DISCLAIMER: It is my personal interpretation of the text that Mizu is non-binary—I use this as an umbrella term denoting any gender that does not adhere to the binary restrictions, norms, and expectations of what it means to be either a man or woman in a particular society; it's not just an androgynous "third gender" that exclusively uses they/them pronouns. Thus, while I personally believe Mizu is not strictly a cis woman, she does still identify with womanhood, despite definitely feeling a level of detachment from it due to living as a man for so long. With that being said, I will be using she/her pronouns for Mizu in this post, but please note that this is purely personal preference. Everyone is free to interpret the text the way they like. That's the fun of fiction. Now, without further ado, let's proceed.

Okay so, thinking about the pairings on a purely surface level, and even before i got into the show, I was pinning my hopes on some lesbianism going on between Mizu and Akemi, and the show does hint at this; in Ep1, during their first encounter in Kyoto, there is the famous slow-mo shot of their eyes meeting, Mizu's lips slightly parted as she is unable to tear her gaze away from Akemi, while sweet string music plays in the background. This is clear romantic framing, and a marker of attraction. If Mizu was a cishet man, there would be no question that this is a potential love interest.

But then, in the same episode, we meet Taigen, who is introduced to us firstly from hearing Akemi's father describe him as "a fierce and undefeated young samurai", the "best swordsman in the best school" and "a fisherman's son from Kohama [...] whose rise reminds [him] of [his] own."

In the next scene, we meet him in person as Akemi's fiance, and he seems sweet enough. He even gives her sweets! In exchange, Akemi gives him gold, and he feels a bit ashamed that he doesn't have anything better to offer her. But Akemi accepts him and his gift wholeheartedly and flirts with him a little, which makes him smile kinda shyly.

When Akemi confirms their engagement, Taigen is in disbelief because he has no status or noble background, but Akemi reassures him.

So from these first few scenes, we're introduced to Taigen as an honourable and strong samurai, but also as a man who is sweet and gentle with the woman he is about to marry, as well as aware of his own inferiority when compared to Akemi's high station.

Our view of him then changes as his true self is revealed: he is an arrogant and smug bastard among his peers, but more importantly, he is the terrible bully from Mizu's childhood.

And it is this side of Taigen--pompous jerk and unrepentant xenophobic bully--that we continue to see as the show goes on, and it's safe to say that this is his real self, sans any pretense of humility and modesty. Around anyone who isn't an outright superior in terms of class and power (ie. Akemi's father, the shogun), Taigen never hesitates to assert his own authority and "greatness."

But as the show goes on, he gets caught by Heiji Shindo's men, and then tortured. And that's when we see, okay, turns out he's not that bad. He's honourable; "honour" is not just meaningless and superficial pedantry for him, but an internalised, guiding principle.

He was a cruel asshat throughout Mizu's childhood, but in a prejudiced and xenophobic society, he was just playing by the rules. As a child, he knew he was at the bottom of society, but when met with someone even lower ranked than him (Mizu), he can project all those prejudices and insecurities onto someone else. This way of thinking--"if you can't beat 'em, join em"--is what allowed him to climb up the ranks despite being some dirt poor kid from an abusive household*.

*Well, that combined with his cismale privilege of course, because this would not be an option for a woman in similar circumstances.

Thus, his upholding of honour also exemplifies how Taigen embodies the ideals and rules of his society. His insistence on duelling Mizu is another more blatant example of this. He doesn't want revenge like Mizu does. He wants to be accepted by society, within the bounds that society has placed, and that means that his only two options following his defeat at the Shindo dojo were to either chase Mizu down and get his damn duel, or kill himself for his humiliating defeat.

Now! Moving on from Taigen, let's go back to the other end of this little love triangle: Akemi.

Mizu and Akemi only properly meet in Ep4. During their first meeting, when Akemi tries to poison Mizu in Madame Kaji's brothel, she compliments Mizu's eyes, calling them "beautiful."

This seems to genuinely take mizu off-guard for a second before she coolly plays along. We know that Mizu recognises Akemi from the get-go, and thus sees through Akemi's ploy from a mile away. It's also safe to assume she'd expected false flattery, because Mizu understands full well that this tactic is how women get what they want: by using their 'feminine wiles' and playing up their naivety and innocence. But even so, it's interesting that Mizu actually seems surprised by Akemi's compliment.

Then, after Mizu subtly taunts Akemi by lying about Taigen's death, she and Akemi have a bit of a scuffle, and then we get to Mizu saying this:

"Women in our world don't have a single good option. Except you, like some magical forest creature. You could have anything you want, but then you beg to eat trash."

(no screenshot because it's quite a long line but you get it)

Here we see Mizu's opinions on the marginalisation of (mostly poor and under-privileged) women stated outright, and underlying her words is also resentment. Because even though she and Akemi have shared experiences of female oppression, Mizu, unlike Akemi, was also poor, from a rural village, and is a racial minority. Mizu is triply oppressed, while Akemi only faces one primary form of oppression, and to someone as embittered by the world as Mizu is, to see Akemi "beg to eat trash" is a slap in the face, practically tone-deaf to the other injustices around her--injustices which Akemi has not shown much, or any, acknowledgement for at this point.

Then, after this scene, Mizu kills Kinuyo, and this unsettles her to a degree we've never seen from her before. She is visibly distraught, and the entire sequence hammers the theme of this episode (and arguably, a large portion of the show) into our heads: women in this world suffer. And even though Mizu is well aware of this fact, to commit this act is so visceral that is shakes her to her core, and it's what ultimately leads to the ambush of the Thousand Fangs.

But before the ambush, Mizu and Akemi talk a little again, and during this time Akemi taunts Mizu some more.

Right now, Mizu is exhausted to the point where (I believe) she even downs some sake, despite not usually drinking. Thus, worn down, she cuts Akemi's ropes and tells her, "Just go." Akemi recovers from her initial fear of Mizu's blade and taunts her some more, accurately seeing through Mizu's facade of coldness, recognising the raw anger there, and says this:

"I thought you had to be something special. Your face isn't even so scary. You're just... angry."

At this, Mizu is amused and compares Akemi to Taigen ("I see why he likes you. You're just like Taigen when we were children. A fucking brat.")

The reveal that Mizu and Taigen knew each other in childhood surprises Akemi, but before either of them can say more, everything goes to shit.

That's when we get to Ep5. This episode focuses primarily on Mizu, the central piece of this love triangle, and does the most out of all the episodes to shed some light on her character and goals, fleshing her out to be more than just the vengeful, highly proficient samurai we've seen thus far (symbolised by The Ronin), but also a person who is capable of love, domesticity and gentleness (symbolised by The Bride). But in the end, Mizu rejects both these ideals, instead becoming an Onryo, who is neither guided by pride/honour, nor love.

By 'reincarnating' into an Onryo, Mizu is able to win the day and save the women in the brothel. However, as she has now fully embraced her status as an Onryo, and is exhausted physically, mentally, and emotionally, she lets the Tokunobu clansmen take Akemi away while Akemi's screams echo in her ear.

Mizu says this choice is for Akemi's own good, that Akemi's better off; because Mizu is jaded and weary, and cannot afford the luxury of idealism, and thus must always be strictly practical and realistic. So of course that's why, in her view, yes, Akemi should not be wasting her time in a brothel where women are exploited and abused, nor should Akemi be so naive to think that her marriage with Taigen is even still possible. However, regardless of Mizu's views, it is not for her to decide, because though Akemi is privileged in some sense, she is still trapped and voiceless, and deserves the right to choose her own destiny.

But as it happens, in the end, though Akemi did not choose who she gets to marry, she DOES get to choose her next move when Edo burns down.

"I want to be great."

This one line is the key to her entire arc, which is only just beginning. We see she quickly has acquired the affection and good graces of the shogun's son after their wedding night and consummation, and with Madame Kaji and the girls now serving her, Akemi will only grow to become a prominent political player.

NOW, only after analysing the characters as they are within this season, only can we speculate how their arcs will continue as the show progresses.

First and foremost, I will reassert the popular opinion that Mizu and Akemi are foils. The climax (pun intended) of Ep7 illustrates this as it parallels the turning points in both Mizu's and Akemi's arcs:

Mizu melts the steel of all her loves and shames, the people she's collected: the broken blade wielded by both Chiaki and Taigen, Akemi's knife, Ringo's bell, Master Eiji's tongs - this symbolises her beginning to accept herself, and in doing so, also accepting the help of others;

Akemi consummates her marriage with Takayoshi Itoh, gains his affection, and cements her position as a woman in the shogun's palace - this symbolises her taking charge of her situation, no longer playing the damsel, but using her position to her advantage, empowering both herself and the underprivileged women around her.

These are thus two directly contrasting, diverging journeys:

Mizu's arc moves inward (yin). It is an internal path of self-love and self-discovery, focused on finding peace and tranquility inside herself, and this involves allowing herself to let others into her life, opening herself up to friendship and empathy once more.

Akemi's arc moves outward (yang), it is an external path of growth, transforming from a naive, caged princess to a powerful woman and a force to be reckoned with.

Akemi is always dressed in red, even her eyes are a bit of a reddish-brown rather than brown-black like most other characters, and in her penultimate scene she stands against a backdrop of flames. She is fire: quick-tempered, passionate, full of energy. Red is powerful, authoritative, and in eastern cultures, it is associated with prosperity.

Mizu is blue: her eyes, her sword, her clothes. She is also named after water; it's where she goes to recover, reflect and meditate. Water is fluid like a brook weaving around a stone in its path, always changing and adapting, it is graceful, it is beautiful and ruthless, tranquil yet swift.

Thus, in the future, I expect we will see plenty of political manoeuvring and intrigue in Akemi's plotline, where she fully embraces control of her life, and begins to take action to help others as well, realising that her own oppression is just one piece in a much larger picture. Her main conflict is with society.

In direct contrast, Mizu's main conflict is with herself. She must realise that her desire for vengeance is a projection of her own deep-rooted self-hatred. Her arc must move towards unpacking her feelings and trauma so she can be at peace with herself and allow space for love in her heart. Because as we saw in Ep5, Mizu had come extremely close to achieving peace and joy, as she had not only loved Mikio, but also had briefly believed that Mikio had loved her (and accepted her for who she is) as well.

Thus, assuming the story is not planned as a tragedy, Mizu will likely end up getting her vengeance, but it will not satisfy her, because it is not what she needs. What she needs is to let go of the Onryo within her and to reconcile both The Ronin and The Bride within herself, as she is both a fighter and a lover, but not a monster.

(Edit: I recommend checking out this post by @stylographic-blue-rhapsody for a much clearer analysis about Mizu'a symbolism as Ronin, Bride and Onryo!)

And now that we've mostly covered each of the characters individually, we can finally get to the main point of this post: the love triangle.

--

Let's talk about Option A: Akemi.

As I covered extensively earlier, Mizu and Akemi are foils, a yin-yang pair. But while they play off each other very well in a thematic sense, I personally believe that a serious romance between them will be more complicated if they become endgame. This is because Akemi's natural resolution is to embrace a position of power and influence, where she has both freedom and control over herself and to make much-needed changes in a prejudiced society. Meanwhile, Mizu's natural resolution is the opposite; her happy ending would to find a peaceful life where she is safe and free from prying eyes, and able to be her true self.

Thus, it would make very little sense for Akemi to forfeit power and run away with Mizu and start a humble life together. Akemi wants to be great, and that is absolutely what she deserves. On the other end of the spectrum, it would also make little sense for Mizu to dedicate her life in service of Akemi, such as acting as a bodyguard or something similar, because a life in a palace full of court intrigue and conspiracies is far from what Mizu needs to be happy.

With that being said, if Mizu/Akemi is endgame, and assuming their overarching character arcs do not shift directions, their love story would likely be either tragic, doomed, or bittersweet. I do absolutely love this type of story because personally I'm a sucker for catharsis, so it would be very interesting if the writers do decide to take this route.

Also, as a note, please do not take this as me dunking on this pairing. This is just my personal opinion and analysis and I completely understand if you disagree!

--

Then, of course, we have Option B: Taigen.

Between Akemi and Mizu, Taigen is a bit of a free-floater here, because Season 1 leaves off at a point where his arc is very ambiguous as to where it's headed. While Akemi climbs for greatness and Mizu goes on a journey across the ocean to (presumably) discover more about her heritage, we have little clues about where Taigen is headed. And if I'm being honest, I'm sure he has no idea either! He still hasn't reclaimed his honour, so he would be unable to rejoin the Shindo Dojo; he's been rejected by Akemi; and while he showed loyalty to the shogun, the shogun is now dead, and all the shogun's men who had witnessed his "humiliating" death were left to die by Lady Itoh, who is now pulling the strings within the palace.

Therefore, Taigen has very few options here.

And when considering his role in the story is as Mizu's begrudging ally, his arc will undoubtedly be focused on unlearning his xenophobia and misogyny, the latter of which we have not seen yet, but is surely present. Now, whether he will do this in Mizu's presence or absence will be unknown until we see Season 2. Following the Season 1 finale, he might return to Kohama and wait for Mizu there as he learns humility and remorse over his past cruelty; or maybe he will follow Mizu to London, and the two of them will continue to butt heads until he finally admits to himself that he cares for Mizu more than he would like to admit. There is no room for doubt that his growing feelings for Mizu are more-than-platonic, because we all saw him get turned on by sparring with her in Ep7 lol. Thus, regardless of the exact choice he makes, I am sure that his overall arc will be focused on redeeming his character.

Now, when it comes go redeeming him, I know there are many who simply don't want him redeemed because he was such a jerk to Mizu, and while yes I agree he was awful, I do believe there is also nuance to his character.

Previously I've discussed in great detail the colour and elemental symbolism with Mizu and Akemi, but have yet to touch on how they relate to Taigen. So, let's talk about that for a second.

While Akemi is red and Mizu is blue, Taigen is green.

Green is a complementary colour to Akemi's red. Complementary colours are directly opposite each other in the colour wheel; when mixed, they neutralise each other, but when put side-by-side, they form a pleasing and impactful contrast that boosts the brightness and prominence of both colours. This mirrors Taigen and Akemi's relationship. They are an "ideal" pair because they complement each other very well, and bring out each other's most prominent traits. Mizu's comment about their similar "brattiness" comes to mind here.

Green is also an analogous colour with Mizu's blue. These colours are sitting right next to each other on the colour wheel; their natural similarity makes it easy for them to form a cohesive overall appearance, but using both in equal amounts will make a design overwhelming and too busy. Thus, the best way to use analogous colours is to make one the dominant colour, while the other will serve as an accent. I feel this also speaks to the dynamic in Taigen and Mizu's relationship. They came from the space place, both from nothing; they're both strong fighters who love the sport, and work well together when fighting side-by-side; however, they butt heads too easily, mirroring how analogous colours can be too overwhelming when used in equal amounts. Thus, to work together in harmony, one has to be the dominant colour, while the other serves as the accent. In this case, the dominant force would be Mizu, as she is the protagonist of the story, while the accent would be Taigen.

By fulfilling this role as an "accent" to Mizu, Taigen's character would easily be slotted in as a the love interest. This is in contrast with a Mizu/Akemi relationship, whereby Akemi is Mizu's foil before she is Mizu's love interest. This is because, by being a love interest, a character usually takes a backseat in the story, serving the plot and the themes by playing a purely supportive role, and this is not possible in Akemi's case because her character exists to parallel and contrast Mizu (red and blue), and not to support her.

It is possible to serve as a supporting love interest in Taigen's case however. And this is because he, unlike the other characters, does not currently have a definitive place within the story. He initially served the plot as an antagonistic force, but now as he is slowly unlearning his prejudices and becoming a better person, he can no longer serve the story by acting purely as a rival.

Instead, he will serve the story by literally supporting Mizu. And this relates to Taigen being earth, which is steady, firm and reliable, unwavering in loyalty and principles, hardworking and rooted in stability, which is seen in Taigen's staunch and inflexible obedience to the traditions and rules of society. These traits are what make him a perfect samurai, but not a good man. However, unlike most people in their world, Taigen is still capable of change and redemption, which is why Mizu says that he has the potential to be great. Not great by way of power or glory, but great in character. Already, he is honourable to a fault, and does not betray Mizu even after she technically robbed him of everything he was striving towards. And when he was shot by an arrow in the chasm, he did not hesitate a second to tell Mizu to use him as a human shield and save herself.

The trigger for his redemption is Mizu. If she had never beat him in that duel, Taigen would live on to become a man like Akemi's father. Cruel, power-hungry, controlling, conservative. But through Mizu, Taigen's sharp edges are ground down, much like water that wears down the stones in a river.

Where Mizu and Akemi's possible love story would be a clash of wills, full of passion and even heartbreak, a possible love story between Mizu and Taigen would be the wearing down of souls. Mizu would make Taigen a better person, and in turn Taigen would dedicate his full respect and support to Mizu as his equal, thus getting her to slowly open up and love herself. Already, Taigen has grown enough to admit (begrudgingly, and in his own Taigen way) that Mizu is better than him; though, clearly, he still has a long way to go, as he still calls Mizu a demon shortly after that.

But basically, Taigen is a very simple man (his main goal now is "to be happy"), and Mizu has great depths that he cannot yet fathom. For this love story to work, it has to begin with Taigen changing for the better. If he succeeds in that, and is able to accept Mizu for all her complexities, I believe that they will make a formidable pair. And though he'd likely still throw a jab or snarky remark at Mizu every now and then, I think he'd come tl wholeheartedly admire Mizu as a brilliant swordsman and a kind soul. Thus, should things work out and this be endgame, Taigen would be able to provide Mizu with what Mikio could not: an idyllic life that is not built on a lie, but mutual trust, respect, admiration, and equality.

Or hey, maybe they could both make their own dojo together! I don't know.

(Edit: This post by @rinandsketches does a great job at delving into Taigen's character and a potential Mizu/Taigen relationship if you'd like to read more about this angle!)

--

Now, as I move on from Taigen, there are a couple more options on how to resolve this love triangle and that includes Option C: Ringo.

In this option, Mizu does not have an endgame romance with either Akemi or Taigen. In this route, she finds peace and love through friendship, solidarity, and a found family between herself, Ringo and Master Eiji—a bunch of outcasts in society who make a strong trifecta of sword-makers.

Also, as an aside while I'm talking about Ringo, I'd like to point out that I believe his element is air and his colour is a neutral grey; he is talkative, easy-going, wise, curious, light on his feet (stealthy) and free-spirited, which are all traits linked to air, and traits that complement Mizu nicely, as he is capable of getting Mizu to open up and trust others again, while Mizu helps him reach his true potential for greatness.

--

And finally, there's Option D: Polyamory.

This is basically an "all of the above" option, in which everyone wins and it's a super duper happy ending. It would also be awesome to get some polyamorous representation, and seeing the dynamic between Akemi/Mizu/Taigen play out would be very entertaining and refreshing. So, you never know, this just might be the true endgame!

--

AAAAND with that, I close my extremely long analysis of what is essentially Mizu's love life. Whatever the final outcome of this love triangle though, I just hope it will be well-written and satisfying to all the characters' respective arcs. (Also I just want Mizu to be HAPPY goddamn it because she deserves the world and her coochie eaten out)

Now, I highly doubt anyone will read any of this (especially not until the end!) but that's fine. I just have so many thoughts and feelings about this show and I just needed to get this out of my system lol! But if by some miracle you did read this far, I wholeheartedly welcome any sharing of thoughts and ideas because man am I obsessed with this show! But of course, if we have an opposing opinions, please be respectful when letting me know; I am very open to friendly discussions.

[royalarchivist]

I say this in the kindest way possible, but I think this style of prose is more appropriate for a personal account rather than an update account. I have no idea who's being talked about half the time. 🥲

[ Tumblr meme via @mikaikaika ]

[bumblingbabooshka]

The worst trope in the universe is when someone accuses character A, who is part of a real or fantasy or coded minority, of doing something bad and everyone's like "That's just your prejudice against [real or fantasy minority]!" and it turns out character A actually did do that bad thing and everyone else was stupid for not believing they did that bad thing.

[aroaceleovaldez]

Mark Oshiro confuses me a little bit not going to lie. In the press tour for the first book all they ever talked about was how Nico is their son and Will is fine I guess. Then they said like 2 weeks before TSATS came out that they didn't understand Will's character at all and it's one of the main reasons why Will has so little POV.

Possibly unpopular opinion but I don't think it's a good, encouraging sign when the writer admits to not really caring about the deuteragonist or not even having a sense of how to write them...

Yeah, no. If you have no interest in 1/2 of the POV characters of your book, you REALLY shouldn't be writing it (or at least, not have that be a main character). Especially when the main way TSATS could have been improved is if it was primarily Will-centric instead of Nico-centric. Will basically had next to no established character prior to TSATS! He was practically a blank slate! But all the new stuff we got for Will in TSATS was so clearly disinterested and had no regard for his previously established traits (or the established timeline/canon). Which is annoying because fleshing out Will would have been the PERFECT opportunity to actually incorporate a lot of the topics that Mark Oshiro specializes in as a sensitivity reader, which was the ENTIRE REASON THEY WERE BROUGHT ON AS A CO-AUTHOR!!!!

As TSATS stands, there is no reason for Mark Oshiro specifically to have been the co-author instead of someone else. It's so clearly just a PR move from RR following the huge backlash Rick received due to his response to criticism on how he wrote Piper and Samirah (and Reyna and etc etc). This was immediately following Rick saying he wasn't going to write what would become TSATS because "it [wasn't his] place to." Most of the topics that Mark Oshiro specializes in either weren't relevant at all to TSATS or written very poorly (to downright offensively) in TSATS, so either Mark Oshiro wasn't doing their job or was not able to do their job for some reason, but either way it basically makes the theoretical justification for Mark Oshiro being the co-author/sensitivity reader irrelevant.

With Will, it was HUGE fanon back in the day for him to be trans. Trans!Will and photokinesis!Will were basically the two biggest headcanons for him (both largely popularized by Cherryandsisters). We know Rick is aware of this old fanon because he canonized photokinesis!Will. If we had gotten trans!Will, that would have been great! And then made sense why we specifically got a trans co-author! (Instead, if anything, TSATS canonized Will being cis.) If we had gotten Will being latino, that would have been amazing!!!! And also then made sense as to why they chose Mark Oshiro for the job as a latinx author/sensitivity-reader, versus potentially choosing an Italian co-author since Nico being Italian/Venetian was emphasized so much in the book (and done poorly! Yknow what they could have done to fix that? GOTTEN A SENSITIVITY READER FOR IT)! Based on the themes and focuses actually present in the book, it would have been most logical to get a queer, neurodivergent, Italian co-author or sensitivity reader who specializes in those three topics at least. But we didn't! So why was Mark Oshiro chosen instead when they only specialize in one of those topics? PR reasons. It's blatantly entirely PR reasons and no actual thought or care was put into this book (or, likely, TSATS 2 either).

It doesn't help that we're also actively being told that the published version of TSATS was a rough draft. Or that their editor blatantly isn't doing her job. Or that "The Sun And The Star" was the working title that they just kept cause they didn't bother to make an actual title. And that the final version is full of explicitly last-minute scenes that weren't checked over at all (the final Bianca scene, for one). Or the ACTIVELY ADMITTING TO SOURCING IDEAS AND INFORMATION FROM FANS! That last one is kind of important because at this level of publishing that is a HUGE no-no for legal reasons. You can get into a lot of trouble for that and there is a reason why it is Ye Olde Fandom Law to never try to pitch your ideas or headcanons to the source creator(s) and keep fandom separate from the creators. There is a REASON why Rick Riordan is so distant from the community these days and it's for PROTECTION AGAINST LEGAL REPERCUSSION. Mark Oshiro being the exact opposite while also ACTIVELY ACKNOWLEDGING sourcing concepts from fans does not bode well! It has to do with copyright stuff.

It's just. So. Sighhhhhhhh >->o <- me lying on the floor about all of this. It's sad being able to see the glimmer of what could have been at the very least a decent book underneath all this. If anyone involved in the process had actually cared just the tiniest amount.

[tennessoui]

it’s like baby gorl there’s no way I, the author who wrote the fic you’re commenting on and who is the intended audience for this comment, am gonna agree with you 😿🙏 some things can just stay on your chest 🙏

[raineandsky]

If you're taking requests, could I request a hero x villain thing where the villain wakes up in the hero's house, totally confused, and he tries to ambush her when she arrives with food? (She has telekinetic abilities, which helps with a lot. I imagine her house would look like the Burrow from Harry Potter - a bunch of things fixing themselves and all that.) But if you aren't taking requests, feel free to ignore this. I've got plenty of your lovely stuff to read. :)

im sorry this is so late!! thank you for the request, i enjoyed this one :)

When the villain finally regains consciousness, the first thing he notices is the scratchy blanket thrown over him. The second thing he notices, when he opens his eyes, is that the blanket is not his. Nor is the house he’s in.

It’s a world away from his home downtown—a low coffee table sits next to the little sofa he’s on, decorated with thick books that have clearly never been read and a blue vase that’s collecting more dust than flowers. The low afternoon sun streams in through wide windows and envelopes the table and chairs in the corner in a warm orange, the speckled colours of a light catcher draping over the woollen rug nearby. The villain wishes he lived in a place like this, but he’d never dream of being civilian enough to need it.

He has no recollection of getting here. Where was he last? Did he get entangled with a civilian somewhere? What the hell did he do to end up here?

The villain is so caught up in scraping his memory for a clue that he doesn’t hear the door squeaking open behind him. What he does hear is the gentle “oh, good, you’re—”

Now, panic is not a good look on a villain. But frankly, waking up in an unfamiliar home and being faced with a stranger that is approaching from behind gives the villain some instincts that’ve probably saved his life more than once.

He lurches up from the sofa with a snarl, earning a rather startled yelp from the newcomer and toppling the coffee table vase to the floor. The blanket he’d attempted to throw off in his attack has curled itself around him like a snake, and he gets no further than the back of the sofa before it trips him over.

“Oh, sorry!” the person says lightly. “That was a little more intense than I intended, but I suppose I wasn’t expecting you to leap at me either.”

The villain, trying not to let onto his embarrassment at this turn of events, glances up. A hero, one he kind of recognises, is holding a tray upside-down and looking back at him. No, actually, the tray isn’t upside-down. The villain is just on the floor.

“That won’t help you heal,” she continues with a short laugh. “Come on, lets get you back on the sofa.”

The villain goes to throw himself at her with nothing but his nails, but the blanket is wrapped around him unnaturally tight. The hero settles on the armchair opposite as it curls around his shoulders, hefting him to his feet before shoving him back onto the sofa.

“What the hell is going on?” is all the villain can think to say.

The hero smiles brightly, unbothered, and sets her tray on the coffee table between them before turning her attention to her shattered vase. “You were a little worse for wear by the time I got to you,” she offers unhelpfully. “Honestly, I was a little worried. You’ve been out for some time.”

The villain watches blankly as the vase picks itself up off the floor, hovering a few inches off the ground to meticulously piece itself back together. None of it would’ve clicked if he didn’t clock the hero staring at it like it’ll disappear the moment she looks away.

“You’re telekinetic,” he says flatly.

The hero turns back to him as the vase sets itself back on the coffee table. Its perfect presentation slips as the hero lets go of it, several pieces sliding out of formation and dropping to the table. “Maybe.”

She gives him a coy smile. The blanket still has a tight hold of him, keeping him sat on the much too comfortable sofa. The sun is moving, throwing some of her face into wild yellows that brighten her face more than a hero deserves. God, the villain hates all of this.

“You got a bad wound in your battle.” The hero gestures to her side vaguely. “You need time to recover, so I would suggest you stay here until you’re better.”

“I’d much rather be at home than trapped here with you,” the villain snaps.

“Oh.” The hero tilts her head in a way that the villain knows isn’t genuine. “Well, you shouldn’t move around too much. Do you have someone at home who can look after you?”

The bitter silence that follows brings another smug smile to her lips. “Then you’ll stay here,” she says after a moment. “My house will make sure of it.”

“Can you tell your house to lay off? Your blanket is trying to strangle me.”

The hero laughs brightly, and as she does the blanket’s vice-like grip loosens slightly. “I brought you some breakfast, by the way.” She gestures to the tray, which the villain now notices has a bowl of soup and several pieces of bread on it. “It’s proven difficult to feed someone that’s unconscious, so please do make sure you eat something.”

She gets to her feet before the villain can think of anything to dispute her. “I’m just going to clean up in the kitchen. I’ll be back in twenty minutes.” She points to the tray. “I expect that to have gone down when I get back.”

With one last smile she turns on her heel and lets herself out.

The villain stares at the closed door for a moment before turning his gaze back to the steaming bowl in front of him. For god’s sake, it does smell good. He takes it in his lap, nabbing a piece of bread with him and dunking it into the soup.

The vase is slowly disintegrating, pieces dropping out of place every-so-often. The villain watches it like entertainment as he eats, but eventually it starts to get on his nerves. A quick scavenge of the hero’s drawers finds him a tiny tube of glue.

All of this is a pain in the ass. At least this gives him something to do with his hands.

[pinkytoothlesso11]

Reasons why Jinx is alive– A fully comprehensive evidence analysis

Right. So I've seen a lot of people with conflicting views on if Jimx survived at the end of Arcane season 2, and I have been itching to do a meta post on the subject, so here it goes!

The first piece of evidence that I found particularly noteworthy was the explosion itself. By going frame by frame it was possible to see this:

It's a blink and you miss it kind of scene, but this is right after the explosion, and you can see the clear pink line going into one of the vents. Now why is this important? Well, it's simple, it's the shimmer effect that happens when Jinx is moving very fast! I know that Warwick was holding onto Jinx, but in a explosion its perfectly plausible for her to get out of that grip using the explosion of her monkey bomb.

Then we have the scene where Caitlyn is inspecting the plans for the Hexgates.

There is literally no reason for her to look at these plans. Not unless she thought there was something she missed...

There's no dialogue here, so it's really just based on what she does and how she reacts. Most notably what she's holding.

It's the head of one of Jinx's notorious monkey bombs. What's more, it's clearly damaged and singed. So likely this is the very same monkey bomb Jinx used in the Hexgates. This also suggests that Caitlyn might have been searching for evidence of Jinx's dead body... and clearly didn't find it for her to be holding Jinx's bomb head and then searching on the plans. Which brings me to the focus changing to this:

The vents we see the streak of pink shimmer light go inside correlate to the plans as shown above. The vents connect to the air ducts which connect to the outside. After this, the camera goes back to Caitlyn and we see her look at the monkey bomb head and then smile.

Then we get to the most telling piece of evidence that Jinx survived and left Zaun and Piltover behind, which is definitely a controversial choice on the writers part and does come across that they just want the option to bring in Jinx whenever they want in later stories taking place in Noxus, Ionia and Demacia. Which is very Marvel like lol. This is namely the air blimp at the end shot of the show.

What I find interesting is the fact it mirrors exactly the very first time we see Powder in episode 1 of Arcane season 1 when we see one of these air blimps.

The difference in these shots is that the one from season one is going TOWARDS Piltover, and the one from end of season 2 is going AWAY across the sea. The only difference in the ships themselves is the streak of blue you can just about see on the side of the hull. Maybe a further hint that Jinx is indeed on board that blimp.

Obviously it is what Powder says about the air blimp in season one that truly gives some solid evidence Jinx escaped on the air blimp heading for the sea:

Well, it seems Powder was right about that... the shots being so similar is clearly not a coincidence.

This is made all the more evident with the very last seconds of screen time of the show. It ends with Jinx's signature scribbles taking over the screen for three seconds with the words 'The end' written across.

Some people I've seen commenting on the fact the letter E on 'the' is reversed, but I think that's just a style choice in line with Jinx's graffiti so far. What is significant here is the fact it's so evidently Jinx's mark straight after the air blimp that resembeled the one in the first episode of Arcane season one.

Annnnd there's just one more thing now. I promise I'm almost done lol.

The lyrics to the song Wasteland that plays during episode 8, when Jinx is about to try and end her life are as follows:

This world is a wasteland where nothing can grow

I used to have strength but I ran out of hope

I know it’s my fault that I'm here all alone

This world is a wasteland

Please let me go, go, go, go, go, go, go

But then the lyrics change in the last chorus, they go from Jinx preparing to end her life for good, to THIS:

This world is a wasteland where nothing can grow

If it weren’t for you I’d be here all alone

I know in my heart this is where we belong

This world is a wasteland

Don’t let me go, go, go, go, go, go, go

Don't let me go

I feel it's likely that the line 'if it weren't for you I'd be here all alone' is referring to Ekko. Because it's Ekko who stopped Jinx from killing herself. And then of course the biggest change, from 'please let me go' to 'don't let me go' Jinx isn't ready to say goodbye. She wants to stay living. And I think it's this that plays in her 'sacrifice' scene with Warwick. It's not her giving up on life, it's her accepting that her life has changed and she needs to break the cycle by moving on. Not for anyone else, but for herself.

Let me know in the comments or reblogs your thoughts on this! And thank you for reading if you got this far lol.

[p0rk-guts]

Sometimes I get so genuinely confused at how some Hazbin fans consider it to be a phenomenal show. Thinking back on when it wasn't nominated for that Emmy. Like why are we surprised??? I have my own love-hate relationship with the show but no matter what I see through my rose colored glasses I'll always understand that it is a fundamentally poorly made show. Plenty of good building blocks (voice actors, animators, song writers, composers, etc.) used to make a structural disaster of a building. Is that not. Obvious to us all

I mean these are the same people who when confronted with Vivienne's terrible actions will plug their ears and keep on sucking her dick like there's no tomorrow so it's no surprise they do the same thing with her show

[hawkfuller]

interview with the vampire | 2x04.

now that 2x05 has shown us armand's words in louis' mouth, it does parallel nicely with this last dreamstat scene...

[miraculouslbcnreactions]

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

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

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

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

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

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

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

Character Establishment

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

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

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

Character Growth

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

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

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

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

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

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

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

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

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

Let's Talk About Chloe

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

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

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

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

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

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

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

And this confession from Antibug:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[ghostinspecter]

I wanna remind everyone that whenever there's hate and discourse going on in a fandom the most spiteful thing you can do is have fun anyway. enjoy your ship or your headcanon anyway. there's nothing these losers hate more than seeing you be happy and have fun so that's the most powerful thing you can do imo. be nice and supportive of each other and keep enjoying fandom as best you can <3

[the-kipsabian]

wrestling fic writers!!

i have decided to be the change i wanna see, so lets do a nice little thing for each other, as a community full of incredible and talented writers. yes this is writer specific only, but thats cause thats where the main problem of people not interacting with creative works lies in this fandom as far as i can tell and have seen people talking about it especially in the last couple of months

if you read this, please add links to your written works. it can be just a single fic youre really proud of, your writing blog, your writing tag, your ao3 account, anything where your works can be found

and if you leave your link here, PLEASE check out someone else that has left their works, and interact with them. leave them a comment, even just a kudos, REBLOG their fic, etc. interacting is the keyword i want to emphasize here, along with building a sort of a masterpost of where to find people writing in this fandom

and if you are not a writer, youre still highly encouraged to interact with this post and share it and show love to the writers in this fandom, obviously!! i think that should go without saying, but adding it in anyways

a bit more about my vision and resources and such under the read more, but thats the gist of it. happy linking and please be kind and supportive to each other!! 💜

nobody is too big or too small to add their things on this list. if you write and post anything in this fandom whatsoever, be it fics or drabbles or headcanons, any companies or any kind of ships or reader inserts or any content whatsoever no matter how 'dead dove dont eat' or hell even if its just meta, we welcome all here and nobody can say that one thing is less valid than another. just please tag your content accordingly, especially if theres content warnings, and feel free to mention what you write, who you write, any info you wish to leave that would help people before they click on your links. but even so, that should not and hopefully will not deter people from interacting, no matter what it is. someones trash is another ones treasure, i promise you

and unless the amount gets really overwhelming, im personally going to be checking out everyone that leaves something here. unless it squeaks me out, but even then, i'll spread the word. and i just wish as many people as possible will do the same, and not just use this as a potential board to only get eyes on their stuff. ofc thats also the point, but you should give as much, if not more, than you get. we need to be kind and supportive of one another (besides, from personal experience, if you show love to someone else, they are more likely to do it back than without you taking the first step, so... pay it forward)

as for resources, heres a few links that should be helpful in leaving comments and feedback. of course everyone does their own thing and no comment is too big or too small to leave, but for those who need them. if you have anything you'd like added to this list, dont hesitate to get in touch or drop it in the post yourself!!

101 comment starters

ao3 floating comment box

kudos html

dont know how to comment? easy solutions

a quick hot guide to commenting (by yours truly)

an overall guide to appreciating fanfic writers

and just in general.. leave people comments. leave them asks about their projects. just go over and gush about their work. i know it sounds embarrassing but writers love nothing more than to hear that someone likes what they are doing. if you find a fic that hasnt been updated in forever, comment on it. it might just be the spark the author needs to continue. while kudos and likes are nice, and just as valuable to some, its definitely in the words the people leave for them that matter the most. im not saying this to put pressure on anyone, its just how it is, and i feel like unless people are writers themselves, and even then sometimes, thats just hard to grasp, especially if the writer is a smaller and less popular one who doesnt get a lot of traffic in the first place

i think thats all. just be nice and considered to everyone, reblog peoples works, this post with others add ons and so forth. and if i find anyone talking shit here or at other writers for something they share, you'll be blocked and im probably taking your kneecaps. be fucking nice. we are all struggling here and we need to stick together

happy sharing and commenting 💜💜

[sylvieserene]

Fixing history using the power of editing and my editing skills!!

For today we have, New Titans (1980) Issue #100

✨ Wedding Special ✨

@robstarblog @robstaryeah pinging yall just in case so that this doesn't get lost in oblivion (It'd be painful since I worked 5 hours non stop on it lol)

I think the most time was taken by the final panel and adding in the finishing touches since I pretty much had to change everything to the pixel level, quite literally lol (I'm serious, I did)

Welp I hope the results were worth it! And with that, another one gets a good ending!!

I kinda didn't add sleeves in the first two panels of the final page because it didn't look good and looked janky with how I was editing it so yeah please ignore that-