#series finale meta

[secriden]

It’s the way that Fadel was able to be unconscious and vulnerable like this -- with his waist half pinned by one of Style's thighs as his other leg is likely tangled with Fadel's under the blankets -- in an unfamiliar space and showed absolutely no evidence of being troubled or startled or fearful in the situation.

It’s the way that before he even blinks himself into semi-coherent consciousness, Fadel is already running his hand gently up and down Style's calf and knee, touching him in a way that shows such thoughtless familiarity and easy comfort with the warmth of Style's skin.

It’s the way that Fadel processes whose bed he's in, the fact that he stayed the night (and all the implications of that choice), and calls his name (for the first time!!!) with zero evidence of any internal conflict about the situation.

This is a man who we know locks his own bedroom door to keep everyone and anyone out, including his own baby brother. A man who appears to attend a support group with regimented regularity, but who we have yet to see actually say anything at said group. A trained assassin, a meticulous planner, and someone given to caution and suspicion before just about anything else. Someone who has spent years operating outside the law and successfully evaded detection because, in part, of his ability to see the warning signs and get himself out of dangerous situations before they escalate.

Only he missed the warning signs this time (because they weren't actually there) and when Style said "One day, I'll be your 100%," neither of them understood that those words were already true. Because the way Fadel woke up that morning -- half underneath the spread of Style's body and utterly content -- told us that Fadel's heart was already completely won.

Which is why Fadel is left with nothing but tears and an aching heart in this moment. Because Style is already behind his walls, already part of the very fabric of his soul, and to unleash his anger on Style now would be the same as plunging a knife into his very own chest.

[kirbs-blurbs]

okay more gijinka sketches

[jojo-schmo]

Okay hear me out- when Dedede and Meta Knight get to the point after they confess and are figuring things out, it takes a while for Meta to ever fully remove his mask. Hiding his face is not something that changes right away, even with Dedede’s endless compliments and reassurances and other forms of love.

With proper communication and being satisfied with mask kissies for a while, Meta slooooowly lets his guard down to return the affection, but in his way. And it’s an emotional and lovely experience for both of them. :’)

[velvet4510]

So after spending literal centuries wallowing in her guilt for failing to save her boy from death and give him more time, Agatha ultimately dies saving another boy from death and giving him more time, and then instead of truly leaving, she lingers to provide that boy with the guidance he needs.

Bravo, Jac Schaeffer. Bravo.

[veinsfullofstars]

👑 Kirbtober 2024 Day 27: Control 👑

(ID: Kirby series fanart of Traitor Magolor magically manipulating a lines of plushies(?) modeled after Kirby, Bandee, King Dedede, and Meta Knight. He smiles behind his scarf, resting his head casually on one hand while puppeting his new toys around with the other, the Crown atop his head watching the spectacle with its unnerving gemstone eye. END ID.)

Previous Day | Next Day | Prompt List (made by @/paintpanic)

Started on 10/10/24, finished on 10/13/24. | Kirbtober 2023 Comp

[percheduphere]

The entire series is a love story in every sense of the word. It is a love story, and it is both triumphant and tragic.

The finale was gorgeously executed. It answers every point in Loki's development poetically.

1. He never wanted the throne. It was not about power but loneliness and the need to belong.

2. To have purpose is to choose your burden.

3. Love does not make one soft, it transforms us to be unimaginably strong.

S1 focused primarily on 2 things: 1. a second chance, and 2. Self-love.

The 3 main characters have a relationship in which love cascades. While Mobius loves Loki for who he is outright, his friendship and support allows Loki to have compassion for himself. Sylvie represents all of Loki's trauma and flaws. In loving her, Loki grants her a second chance expecting nothing in return. The second chance Mobius extended to Loki, thus extends to her.

S2 focused primarily on the love between friends, which I do believe turned into unrequited love for Mobius in S1E4 (manifesting as rage and jealousy).

That love turns resigned, and the jealousy reemerges in S2E2 albeit in a constrained, milder form.

Unbeknownst to Mobius, his romantic love is finally returned in S2E5, after Loki experiences enough platonic love for Mobius that the nature of affection shifts upon losing Mobius a second time.

The timing of this realization is profoundly tragic. When they are finally on the same page, the finale sets the stage for Loki to engage with the fourth, most powerful form of love:

AGAPE

A selfless love for everyone. Loki could not have reached this point without first experiencing self-love, platonic love, and yes, romantic love. All forms of love are demonstrated in the series, which gives Loki the strength of sacrifice, confronting his worst fear: being alone.

I find it deeply poignant that Loki uses his magical life force to create Yggdrasil, the tree of life, replacing the cold force of HWR's technology with his own heart, allowing everything and everyone to grow infinitely through space and time. There cannot be a more powerful ending for Loki's character, and the tragedy is the point.

But Loki embraces this burden willingly, lovingly, for all of them, most especially Mobius.

ON MOBIUS

It is only Mobius that senses something is deeply wrong. The first time, he asks, "Are you okay?" The second time, he notes Loki's odd comment, "This time?" The third time, (first for Mobius since he didn't remember each reset) instinctively, he becomes desperate. He grabs Loki by the lapels, "What the shit are you doing?" He tries to stop Loki, but Loki won't let him.

The fourth time, he simply says, "Loki?"

Throughout S2, it is Mobius that Loki turns to when he is afraid, doesn't know what to do, or seeks comfort. He returns what Mobius provides him in S2E2 in the pie automat. In S2E4, he defends Mobius's character to Sylvie and compares where he is now, as a person, with Thor's experience with Jane, a mere Midgardian mortal.

In S2E5, it is Mobius Loki timeslips to the most and the first person his heart seeks out once OB provides him with an answer to his fiction problem.

That Loki seeks Mobius's wisdom one last time and holds onto Mobius's hand as long as he can in the finale is significant. Mobius's words about choosing your burden are devastatingly true. These words propel Loki to make his choice.

And Loki walking out onto the platform in the finale is a direct reciprocation of this (S2E1):

This is an all-encompassing love story. Let noone tell you otherwise.

[ghostbny]

I luv when people make metaknight related to nightmare, like his son, like yeh make the boy suffer!!

[descendant-of-truth]

If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

[veveisveryuncool]

day 1: sworn partners/free

heya!! here's my entry for metadede week :] i thrive on their found familyness <3

this comic is based on babyboy764's chapter of their fic, link here!

[hermitcrabstar]

OMG guys I went to the mall today and got the last big chonky Meta Knight I'm so happy!! (Oh! And I also got a Kirby cake and Elfilin from blind bags) :D 💙💖✨

(I'm still looking for Waddle Dee merch, I literally don't have a single Waddle Dee related thing. I want Bandana Dee so bad but I don't know if I can get him TvT 🧡)

[misspoetree]

[secriden]

I woke up this morning still thinking about Fadel waking up in Style's bed.

I wonder what was running through Fadel's head as he turned to look at Style, eyes still squinting against the too-bright morning light, the unfamiliar comfort of the shape of Style's name on his lips for the very first time. I wonder if he was too sleepy to process how strange it was that he didn't really mind being pinned down by the weight of Style's thigh thrown over his hips; that the sensation was grounding and reassuring rather than being confining or suffocating. I wonder if the thought crossed his mind that he wouldn't mind waking up like this again, wouldn't mind letting someone into his space, wouldn't mind giving someone the bared vulnerability of lying naked and unprotected with all the implications of unwavering trust that has -- not if it was with him.

I wonder if Fadel registered the way his heartbeat is steady and calm despite the strange surroundings and unfamiliar bed, because something in him has already labelled the person lying next to him as safe.

I wonder if Fadel even understood that this, right here, in all its quiet and unacknowledged stillness, was the moment he fell in love?

[wildmxri0]

DREAMLAND GANG, BABYYY!

Yes, I redrawn this from my old art in 2015, lmao.

Finally, get my ass drawn on the background

[jojo-schmo]

The Forgotten Land Roleswap: Sunfall and Daybreak

The Sworn Partners and the Lost Pup search for answers every day until dusk.

The Beasts dream of their salvation every night until dawn.

[velvet4510]

The Legacy of Nicholas Scratch

After episode 9, Nicky’s spirit calling out “Mama, stop!” as Agatha kills Alice hits WAY differently.

The popular theory prior to the finale was that Agatha accidentally killed Nicky herself, perhaps by inadvertently absorbing a manifesting power of his own and being unable to control/stop herself. And his voice from the Ouija board was actually a memory of his last words as she was killing him.

But actually, it’s entirely different. Nicky’s words were not about himself. They were about her, and her actions.

Unlike Agatha, Nicky had a strong conscience in life, if only due to the natural innocence of childhood. He never felt good about his mom killing all those witches, to the point where he spent their last day together sparing the lives of the latest group of witches and drawing Agatha away from them. And now 250+ years later, thanks to Billy, his spirit is briefly drawn back toward the living world just in time to see his mother is still doing it. She’s still hurting her fellow witches. So he makes one last plea: “Stop!”

Because Nicky knows his mom, better than anyone besides Rio. He knows that she is capable of love and kindness. He saw it every day in her care for him and in their shared joy as they wrote and sang their little song together. He’s witnessed so much proof of her heart and her capacity for good. He wishes she’d let herself tap into that side of her, and stop letting herself be the monster that everyone says she is. He’s always known that she can be more than that.

And this is exactly why Agatha does stop, just from the sound of Nicky’s name before she even hears his voice. She’s reminded of his concern for life in spite of, or perhaps because of, his (most likely) being the child of Death. A concern that she never let herself have.

All these years without Nicky, she’s let her pain and grief motivate her in killing those witches. How could any of these witches possibly deserve to live when Nicky didn’t? It’s a similar mindset to Clint as Ronin when all those criminals outlived his family. She might as well punish “the undeserving.” And in doing so, maybe, somehow, she’ll gain enough power to fill that ever-present hole that was torn into her chest the morning she woke up to find that he never would wake again.

But now here he is again, forced to see what she has become. And he doesn’t like it. He still wants her to stop.

No wonder Billy’s question “is this how Nicky died?” is what finally gets through to her. On the day he died, Nicky abandoned her quest to inflict death on others, wishing they could just let them live. That day, Agatha continued ignoring his wishes in favor of her own agenda, prompting him to apologize and give in, saying they can kill more witches tomorrow. Now here is Billy, who went through everything he did just to give life back to his brother. Who is doing exactly what Nicky would’ve done if he’d had a brother. And Agatha is about to abandon him to her own agenda once again. To get him killed just as she got all those witches killed in spite of Nicky’s pleas.

No.

Not again.

So with a literal kiss of Death, she finally embraces Nicky’s concern for life. She enters death in order to let someone else have life.

But … in perspective, that’s just one boy. Nothing will ever bring back any of those witches she killed. Nothing will ever undo those years that she spent turning the only piece of Nicky’s legacy, his only contribution to the living world in the stolen time he was given, into a conduit of the very thing he always opposed.

No wonder she can’t face Nicky. No wonder she’s afraid of seeing him. Even centuries later, she was still doing what he didn’t want her to do, and was about to keep on doing it to the point of needing a reminder of him. And she’s been doing it using their song. Corrupting his beautiful sweet little tune into a harbinger of doom. The very last thing he ever wanted his song to be used for.

No wonder she’d prefer staying with Billy, who is considerate of others’ lives just like Nicky was. Who is the first person to make her feel tender emotions since she lost her baby, the first person to open her eyes to the true horror of what she’s been doing with that ballad all these years. Who is her second chance.

She wouldn’t give Nicky what he wanted: for her to stop. But she will give Billy what he wants: his brother. She will spend her new “afterlife” as a ghost doing for Billy what she should’ve done for Nicky: helping him get what will make him happy, and devoting herself to that cause.

She failed Nicky, but she won’t fail Billy or Tommy.

[guillotine-drop]

Kirby is actually such a funny series because a lot of the games follow a structure that’s like

Part 1: Oh no! King Dedede has stolen all the candy in Dreamland, and he’s keeping it all for himself! Quick, help Kirby get it back so everyone in Dreamland can have sweets!

Part 2: Uh oh! That cool knight Meta Knight is back with a vengeance! Run through a crazy gauntlet of enemies and obstacles to make your way to him, and have an epic sword fight!

Part 3: The Great Evil known by the name ‘Caedes the Unwavering’ has cast his shadow over Dreamland. Only a star warrior capable of breaking through his veil of nightmares by destroying his 100 legions of darkness can defeat him. Do you have what it takes?

Ending: And so Kirby and his friends sat down and had a scrumptious shortcake together, to celebrate their victory! The camera pans over to reveal Caedes’ helmet lying in the grass, charred beyond recognition, as a small plume of nightmare energy emerges and is immediately stomped on by King Dedede running over for cake