#this is what happens when you just want to talk about one episode but end up bringing up three others

[withbriefthanksgiving]

Text ID: screenshots of tumblr tags from various tumblr users that say the following:

to understand the sociopolitical and linguistic landscape of equestria one must understand that ponies are crazy racist

comment above is correct, ponies so racist they had racism monsters that caused winter, well you know what I mean

there is an episode in season 1 where the gang racially profiles a zebra, pinkie even sings a song about it

pony racism is like the plot of half the episodes in this show

oh so the one who had an entire episode about stealing land from the native people is going to talk about how pony racism is bad??? you have no place in this discussion after everything that happened with the buffalo, applejack.

remember when people were upset at the g5 movie be they "made the ponies racist" and said they would boycott it and keep being g4 fans bc they dont want to deal with racist ponies

there is a long list of races even the mane 6 have been awful to, and it is insane to me that they just never learn. it is the one lesson they never truly learn. even when theyre trying to be accepting of other races they come off as awful !!! see: the episode where yona tries to share her traditions only to be forced to act like a pony instead

they start sending out missionaries to teach all the other species superior pony values

In a later season Twilight tries to make a school that integrates non-pony races. And she has to catch herself when she says "Everypony" She has to make it a non-accredited school because the school board in Equestria doesn't want non-ponies learning their secrets. This sounds like a lie on the internet but that's literally what happens

/end of ID.

i'm gonna be honest i don't get why they say everypony instead of everybody in mlp. it's not like the word everybody is human-specific. the ponies have bodies. the word everypony, however, is pony-specific in a world where ponies are not the only people in their society, which means it would be more accurate and inclusive to use everybody instead of everypony. it all makes no sense to me

[iiheartarc]

MY TAKE ON THE CAITVI DISCOURSE

total wordcount: 1591

I will say that I've briefly commented on their dynamic in the past, but it was worded really badly so I feel like I need to defend my writing skills a little bit as well with this, but that's just a sidenote. 💀

I think what a lot of people are missing when people do criticise CaitVi is that they aren't necessarily hating on the ship, it's what writing choices have done to it.

I'm not even going to even say I'm a CaitVi hater, I'm not (S1 CaitVi my beloved, you deserved better), but I do think the choices that writers made this season heavily effected how audiences portrayed the ship, even including myself.

Idk I hope this insight might give some people more perspective on why CaitVi became so hated in this season, people rlly need to start looking at both sides and not taking criticism as a personal attack. It really could've been avoided too if the writers had added more time or extended the series onto a third season, but that's another issue on its own.

1. Caitlyn hits Vi

I really don't get why people are so quick to defend Caitlyn on this one, especially considering the amount of hate Vi got when she hit Powder. Are both inexcusable? Yes. But I do think that the situation is a little different when it's a fifteen year old child who had just witnessed the death of her entire family and a twenty something year old woman who took out her anger and grief on the woman she loved because she blocked her shot.

I do think that people also do ignore the immense amount of trauma that Caitlyn suffered at the hand of Jinx, but unlike when Vi 'abandoned' Powder, (again, that's a whole other conversation, we know she was not abandoned), Vi was not that direct source of anguish to Caitlyn the way Powder was to Vi. (Pls lmk if you want me to expand further on this)

Again, not excusing Vi hitting Powder, I'm pointing out the differences.

It's then also incredibly tone deaf when Caitlyn hits her on two more occasions with the same gun, the third time being played off as a joke. It really doesn't come off well, especially when Vi had been a victim of police-brutality even before the abuse she faced at the hands of the enforcers in Stillwater.

And then, even after all this, it's never addressed. It's brushed over, like Vi's entire trauma in the show, the most we get is Caitlyn brushing her hand over Vi's abdomen in the cell scene. Again, can be taken as an apology, but I think that for some very specific things (like hitting your romantic partner), verbal apologies do need to be made in order to communicate healthily and somewhat build a healthier relationship.

I don't really want to talk about the abusive implications of this, because I don't think I'm someone who can talk about it with a full understanding because that's something I've fortunately never been through, but the blatant disregard and shunning of abuse survivors when they pull up the red flags raised because of this is disgusting. In real life, or if it had even been someone else in the show, if the ship had been a heterosexual relationship, people would call Caitlyn an abuser and would be outraged that Vi had been paired with her in the end. But I digress.

1. The cell sex scene

Initially I hadn't been too bothered about this when I had first watched the episode, but when you really think about it, it shouldn't have happened. Hell, they could've had sex in Caitlyn's office and half of the criticism wouldn't have happened, the ship wouldn't be so hated and the fandom wouldn't be half as divided as it is now (from what I've seen).

First and foremost, the cell.

All I can say is wtf. It was such a poor choice it's actually unfathomable to me now. I don't know why the writers thought that it'd be a good idea for Caitlyn and Vi to have their first time in a jail cell, not only the one Jinx had been locked in, but the one Vi had herself been locked in for what we can assume to be hours. The place of her abuse should not be somewhere where the writers could possibly think would be a suitable for a victim to have such an intimate moment with her partner.

Then there's the fact that Vi had looked to have had some sort of breakdown, we see she's sh and there are literal crates in the wall from where she punched it as well as her knuckles bleeding. As soon as she sees Caitlyn, there's a parallel to when they first met, to when Vi is quite literally caged. She's clearly not in the right state of mind, and so when the scene eventually happens it inevitably comes off as wrong because Vi is incredibly emotionally vulnerable in that moment.

"But Vi initiated it!" That still doesn't make it okay. I do think that this also came with an issue of timing, but then again, as I mentioned earlier, it literally could've been in the office as they argued and it would've been recieved so much better then the cell scene was. Vi wasn't breaking down, she wasn't locked in a reminder of the abuse she faced and her sister hadn't just ran off to do goodness knows what (in Vi's POV, us as the audience know exactly what she's about to do). They could've even have it fade to black and cut to the next scene tangled in bed doing whatever they would've been doing in the cell, Vi would assumably have had time to calm down, would be having sex in a warm and safe environment, and guess what? The audience would've been even happier.

Sure there would've been criticism, but Vi could literally save a thousand babies and adopt them all and still face hate, because a lot of the hate is being directed to Vi too because of the situation with Jinx. That, again, is a whole other situation.

3. "Dirt Under Your Nails"

Again, for the love of god, there can be so many takeaways from this sentence but do not be surprised that people didn't like it. I didn't, it made me cringe horribly.

And before people throw 'media literacy is dead', this whole post (practically essay), is analysing a piece of media that I love. To be literate, you can draw different interpretations and conclusions and that's exactly what I'm doing. It's like saying literacy is dead if two people were to disagree on what the meaning of Macbeth's quote 'I am in blood' meant.

I digress.

I think the main issue here is the class difference between Vi and Cait. Caitlyn is from the aristocracy, a direct heir to a position of power in Piltover, while Vi is lower class, effected indefinitely by growing up in poverty. Even though she grew up as Vander's kid, they were still 'scraping for scraps'. The wealth margin between the two is almost immeasurable, and with the difference in money comes a difference in experiences, as we - the audiences - know.

It especially comes off wrong considering the class tensions and political themes heavily focussed on within the first season. The conflict between Piltover and Zaun, the abuse of power and exploitation of Zaunites by both topside and the chembarons, the prevalence of police brutality on the streets of the Undercity. Again, Vi is someone who is directly effected by this, while Caitlyn came into this blissfully naïve. She did learn yes, and in s1 she was so determined to help, but when then this progress reverts into her calling zaunites 'animals' and using the grey as a weapon, it again makes Vi's words feel uncomfortable.

Again, I think this was a massive timing issue, I would've love to see Caitlyn succumb fully to a villain arc. It would've been so interesting to delve into.

I think Vi has always had the image of herself that she'll always be viewed as less by Piltover, that she herself views herself as less. She says it herself to Vander in s1 ep2 while they're on the bridge, "I grew up knowing I'm less than them." So when she then says as her final words in the show, "I'm the dirt under your nails" obviously, that's going to come across as tacky.

People are free to think of romantic connotations for this, I won't stop you, but when you think about how the show was so focussed on class tensions, police brutality, oppression and exploitation, it doesn't come off right. Idk, that's what got me so interested with the show in the first place, the way these themes were explored so deeply but subtly in a way that didn't feel forced, so Vi's words really rubbed me the wrong way.

Conclusion

So I hope everyone that read somewhat gets where I'm coming from, this was my attempt to try and explain what I think needed to be, badly. Again, you can like the ship, I'm not saying I don't, but it also needs to be acknowledged that there is so many things that could've been worked on properly, done properly or addressed properly, and ignoring criticism won't help these issues to be fixed in the future.

Feel free to ask any questions and thanks for reading this long ass rant :)

[utilitycaster]

Hi! I just wanted to add to what you said about Laudna that her motivation from the beginning of the campaign did not change at all, in that she was ok and totally moved on from her trauma, and was just helping Imogen find out about her powers. I don't recall that Delilah was much of a problem outside of talking in her head sometimes, so getting Delilah out wasn't a character motivation.

There were times were it looked like her character was going somewhere when Marisha talked about Laudna being mentally stunted and Delilah's influence being akin to an addiction, and thought maybe they can address some of that in the campaign, but we had a lot of "woe is me Delilah is making me do things" which is BAD if you address the addiction allegory (still taking into account that Marisha may have misspoken during 4sD about it)

They didn't even deal with Delilah properly, she is still there and can talk with Laudna, and I don't think by the end of the campaign Laudna is in any way more capable of ignoring her as she did the first time they defeated Delilah and she was just a faint wisp, she wasn't in any way actively influencing Laudna back then until Laudna tried to bargain with her for power (i may be paraphrasing or misremembering though it's been a bit)

Saying that Laudna's character feels very fic-y is surprisingly accurate, she feels like someone who would have been sold to One Direction

Sorry for the long ask

OK first off YELLING at the being sold to One Direction but yeah, that's the thing, she feels like this passive self insert who people give things to and like without her like, doing anything other than putting her messy brown hair in a bun on the top of her head.

I think with a lot of my frustrations with various characters, there is frustration on both sides, with Matt and the cast, and Matt bears a LOT of responsibility to be clear because I think in his focus on the core plot above all it shut down player attempts to the point that even stronger players with stronger concepts kind of gave up in the end. But for Laudna, here is the throughline.

Early on she floated the idea of getting rid of Delilah when Imogen was trying to get into the Starpoint Conservatory. This was good! It was introduced as a potential longterm goal of Laudna's! It's just...that never happened. The research was always very moon focused, and when it became clear this wasn't really an academically-inclined group the research took the form of Grim Verity lore dumps, which naturally didn't allow for side research. The gnarlrock fight famously went nowhere because she and Imogen apologized right away, but then, notably, Laudna didn't do anything to get back at Delilah nor did Delilah keep doing anything. Imogen's attempts to work with Delilah failed (this feels like part of the 'No Consequences' rule; Imogen binding herself to Delilah as well or having Delilah take on more of Laudna, something Laura as Imogen actually made steps to pursue, could have been something! I mean I'm team Jiana would have been more interesting, but this could have worked!) and so then the whole probably was kind of put on ice by the Vox Machina-helmed resurrection, and Delilah faded to a nonentity that Laudna didn't have to care about. So she didn't! Until she came back, and then she sort of cared for a bit but Delilah didn't make her do anything and then she came back to Jrusar and instead of leaning into her anger she kissed Imogen and forgot all about it until they went to Whitestone 12 episodes later (still no real consequences of Delilah coming back), she reiterated a connection to Delilah back there and had some scenes with her due to the shard but again, she wasn't really inconvenienced or changed, and then there was one last flare up with the sword and then Essek fixed everything.

Like, this would have been very easy to make compelling by having Delilah actually be a threat. Part of why I don't feel much about Laudna living out her life is that like, Delilah is just sealed away again (and fwiw we gotta at some point talk about how there was a whole setpiece about how Leaving Things Sealed Just Perpetuates A Cycle and then there's at least two sealed evils and one fully unsealed if mortal evil guy hanging out, like, thematic coherence whomst?) and throughout the story Delilah mostly just serves as an intrusive thought who broke something once and hit a couple of dudes. Chetney getting caught by the red moon and attacking people felt more real and he took more responsibility for it. If Delilah had constantly been trying to take over? that would have been interesting. If she hadn't but Laudna was furious that the woman who killed her was using her body and at all times was fighting against it? that would have been interesting. But it was just this vague blurry meh. Delilah is her warlock patron and the reason she's alive, but she can be diminished to basically nothing without any drawbacks, and Laudna sometimes hates her and sometimes wishes to wield her, but that all fizzles out every time. Again: if you wished one of these things were true and mourn the character Laudna could have been - either someone using Delilah's power at the cost of her own will, or someone fighting desperately to reclaim her own body and mind - then I'm right there with you. But as she was in the story? I wish One Direction had taken her away and we'd gotten someone better.

[kyokutsu-sama]

Can I request a fic where Gyomeis wife is pregnant with twins? I saw how you wrote Sanemi and I just absolutely loved it. Maybe Gyomei could start off being nervous (he hopes the babies dont inherit his blindness so he’s happy y/n is pregnant but nervous at the same time)

I would just love to see how attentive he would treat her even if he’s blind. Like he’s insanely strong so carrying her or coming behind her to gently lift her tummy to ease the tension in her back and off her bladder wouldn’t be a problem. He’d LOVE touching her belly and holding her. I think he’d do so well with twin boys. 🩷🥹

Hi @totallygyomeiswife !

A/n: This Sanemi fic will always be the one I enjoyed writing the most😍 and I also thought about writing one for Gyomei but I ended up starting other projects and I left that one aside but now that you sent the request I decided to write it.

I would give anything to see a man that size holding his tiny baby in his hands. It would be so cute❤️🥹

The first rays of sunlight entered through the crack between the window and the curtain, waking you up. You slowly sat up in bed and when you looked to the side, all you could see were the sheets unfolded and an empty space. Gyomei had probably gotten up before sunrise to go to a quieter place to say his prayers. A habit you were already used to.

You felt nauseous and unwell, it seemed like you were going to vomit. Something you had been feeling for a long time and it wasn't just when you woke up, it was also with certain smells that made you feel like this. The nausea was starting to intensify and that was when you ran to the bathroom to throw up.

When that episode was over, you got up a little shakily and flushed the toilet. Your eyes faced your own reflection in the mirror as you washed your face and pondered what had just happened.

You didn't want to think that there was something wrong with your health, but something else popped into your mind and you widened your eyes at the thought.

"Could it be?" You wondered. "No, maybe it's not that. I mean..." You closed your eyes and sighed

It was very likely that it could be what you were thinking. It was very likely that you could be pregnant.

You then left the bathroom to get dressed and go to the butterfly mansion to clarify this whole situation.

~~~

You entered the bedroom and saw Gyomei sitting on the balcony. You approached him, and even without seeing, he could feel your presence.

"These footsteps sound exactly like those of my lovely wife, am I right?" He asked with a little smile

"Yes, you are." You smiled, sitting next to him, holding one of his huge hands that covered yours

You remained silent for a while, caressing the calloused skin of his hands, the result of his hard training. You were thoughtful and tense, something he could feel.

"Are you okay, my love?" He asked, looking to the side where you were, as if he could see you there.

"Yes, it's just..." You were going to continue the sentence, but you got a little nervous. "I've had something to tell you for a while, but I'm afraid."

"You can tell me, my dear, I'll always be here to listen to you. There's no need to be afraid."

"Gyomei, I went to talk to Shinobu a few days ago and... and I found out something."

"What? You don't have anything serious, do you?" Gyomei felt tears on the verge of falling down his face

"No, it's nothing like that. Mei, I'm pregnant." You finally spoke and it was then that the tears fell down his face

You looked at him and he was crying, his hand intertwined with yours on your lap as he cried, making you cry too. You thought he was sad about the news, but he soon proved otherwise.

"I didn't know how you would react. I didn't want to tell you because I was scared and anxious." You whimpered with a few sniffles

"My love, I'm just so moved. You're carrying something so precious and so innocent inside your womb, something that belongs to both of us and that I will protect no matter what." He answered, making your heart feel lighter at that moment.

"Oh, my love." You moved to his lap, hugging him just to feel his strong arms around you, giving you the great feeling of protection that you loved to feel

~~~

He decided to talk to the master Ubuyashiki after finding out he was going to be a father so that he could have the opportunity to spend more time with you, not going on as many missions as before. Unless it was an emergency that he really had to be called in for.

The master not only congratulated him but also agreed, which made tears of gratitude fall.

When his hands felt your belly start to grow, he made a point of carrying you everywhere in the house. You only got out of his arms when you sat at the table or when he laid you down.

When you had insecurities about looking heavier, he assured you that you were still perfect and that there was nothing that his strong arms couldn't carry.

"My love, I may be blind but I'm still sure that you're still beautiful." He said and you cried

Those months also made you more sensitive and now he wasn't the only one who cried over everything.

He loved the afternoons you two spent together cuddling and when he could run his hand over your round, soft belly.

"What do you think it is, love?" You asked, placing your hand over his. "A boy or a girl?"

"Maybe a girl with a beautiful, cheerful voice like her mother, or a strong boy like me." He smiled and you wiped his tears with your thumb, caressing his cheeks."I just hope they come out with good health and that they in no way inherit my blindness. I prayed hard that they would have the blessing of being able to see when they were born."

"Everything will be fine, my love. Whatever it is, they will come healthy and with good eyes so that they can see not only me but also the wonderful and loving father that you are." You smiled at him, holding his face with both hands. "I love you." You placed a kiss on his lips and he wrapped you in a tight hug

"Me too, my dear."

~~~

"The master asked that all the hashiras gather in the meeting room tonight. I wanted to stay here with you, but I don't think I can. I'm sorry." Gyomei said, lowering his gaze a little, but you comforted him by holding his hands

"It's okay, baby. I'll be fine, don't worry."

"I know, but even so... It's already night and those creatures are out there. I'm afraid the same thing will happen that happened that night when I lost all those people in the temple."He said

He didn't want to lose his wife and child in the same night. He couldn't bear to live through a night like that again.

"Gyomei, I promise. I'll be fine and no one will hurt me. Do you trust me?"

"Alright, then. I'll go, even if I'm a little nervous, but everything will be fine." He gave an optimistic smile

"Come here, my big boy." You raised your arms, trying to embrace his broad frame that towered over yours. He was as big as his heart. A true gentle giant.

~~~

It had been some time since he had left and you now found yourself sitting on the bed, leaning against the headboard while holding the Buddhist rosary he had left with you as a protection. The same rosary he always carried in his hands during prayers in which he asked for protection over you and your womb and also for strength for him so he could protect his family.

You looked at the rosary beads and all you could think about was your husband's face. He prayed each one patiently and full of faith.

A strong contraction appeared and you held your belly with a groan of pain. You thought it had been just another random kick from the baby, but seeing how the pain only intensified, you realized that it was not just another kick, but the birth of your baby.

You began to cry in pain and clutched his rosary tightly, hoping that he would come home soon to help you.

"And that's it for today, my children, the meeting is over." Master Ubuyashiki declared and the hashiras bowed before leaving

Gyomei stood up but the master held his hand, which made him stop and sit down again.

"Oyakata-sama? Is everything okay?" The hashira asked

"I just wanted to wish you good luck with the birth of your children. They are twins." The master said, shocking Gyomei

"How... How did you know?"

"I had a vision a night after you told me. I also scheduled this meeting so I could tell you this. You must take care of Y/n, she needs you. I believe you will be a good father. I trust you, Gyomei Himejima." The master said with a proud smile and the hashira was soon moved

"Thank you, oyakata-sama!" He knelt and bowed in respect. "I will pray for your health."

"Thank you."

When he got home, Gyomei heard screams coming from the bedroom and immediately thought the worst. He followed the sound of the screams of pain and reached the bedroom where you were crying.

"Y/N!? What's going on?" He asked, approaching the bed

"Gyomei... Help me...it's now." Your words came out between sobs and moans of pain, unable to form a plausible sentence, but he soon realized what it was about

"I'm going to take you to the butterfly mansion. Let's go." He carried your body in his arms and left the house

The entire butterfly mansion was shocked when they saw the stone hashira come running in with you in his arms.

It was a difficult time, with a lot of pain, crying, and emotion. Gyomei didn't let go of your hand for a single moment. Bringing two boys into the world caused you a lot of pain and he could feel it in the way you held his hand tightly.

The master was right, they were twin boys and according to Shinobu, both were in good health. He felt great relief in his heart for them, but those tears he was shedding were not only from emotion for the birth of the boys but also from pity for you for having gone through all that.

You slowly turned your head to the side to see your husband crying and holding your hand. He was your greatest support throughout that special moment and his affection and care made you love him even more.

"Honey, it's okay." You spoke softly, without strength, but he raised his head enough for you to bring your fingers to his face and wipe his tears as you always did, even when he cried over small things."I'm a little weak but... I did my best to bring our boys into this world. After all, they were two little boys... they will be strong like their father." You smiled and he smiled back

"Thank you for being so strong during all this time, I will do my best for you and for them." Gyomei said, leaning in and kissing you

His kisses were always slow and very soft, coming with a lot of love and affection.

"I love you." You whispered against his lips

Shinobu entered the room with the newborns in her arms and blush when she saw you two so close.

"Am I interrupting something?" She giggled

"Oh, no, it's okay." You stated, feeling your cheeks turning red

"I just came to give you what's yours. Your cute little boys." She said, handing the boys into your arms

"My beautiful boys." You said, tears of joy fall as you picked up the little ones. "I love you two."

"Y/n, can I hold them?" Gyomei asked

"Of course you can." You handed them to him and he held them as if they were made of glass

That man's hands were strong enough to destroy a demon, but at that moment they felt like velvet, holding something as innocent as a baby.

He cried so much because his blindness couldn't allow him to see their faces, but at the same time, the feeling of having them in his hands made his heart explode with joy.

"I can't see them but I can tell they are two wonderful blessings." He said and you smiled at how tiny they looked in his hands.

"They'll be as proud of you as I am, Gyomei." You said, kissing his forehead where his scar was. "You'll be a good father."

"And you'll be a wonderful mother."

[your-turn-to-role]

if it helps at all (reblogging directly from you starry bc can't tag you) - as someone who gave up on it pretty early on bc it wasn't really my thing, i have been wanting to look up more positive opinions on the campaign recently, i've just been really busy so haven't had time to respond to anything but what's on my dash, which yeah is a lot of critique, and with what i do know there's definitely stuff i'm not a fan of, sure

but also like. the critical role cast aren't some corporation just trying to squeeze money out of this show, like a lot of the things c3 has been compared to are

while they could have, in retrospect, probably made better decisions to really pull off whatever they were going for, they're also playing the game that makes them happiest (and they're putting it all online for free it's not like they're obligated to follow the fans' ideas of what should happen)

if you enjoyed it all start to finish, you're honestly a perspective i'd like to see round tumblr more! you're seeing what the cast see in this narrative and that definitely doesn't make you wrong or stupid. if there was no value in this story whatsoever they would have stopped a long time ago

as megs said, being able to articulate an opinion well doesn't make it objective truth. god knows i can pull out a million references for any of my essays but when i write them it's always gonna be me shining light on a specific angle of the narrative that appeals to me. other people can choose to pick a different angle and still be just as right, regardless of whether or not it's something i personally would enjoy looking at. and that's even more true in a fandom like this, where every narrative is in fact 7+ narratives that we hope will weave together well, and there's a million things to focus on that haven't all been handpicked by the creators for the sake of telling a singular story

if you're seeing an angle a lot of people aren't focusing on, hell, celebrate that! i love hearing about the moments that genuinely appealed to people, it just feels like there's been fewer and fewer of them focused on bells hells the longer the story went on. but i've also been in fandoms where i truly genuinely enjoyed the ending of a particular story and thought it was well told the whole way through, and then it turned out 99% of the fandom thought the ending was rushed and it ruined the whole thing, so i definitely get how that can feel a bit crushing and like you're fighting a tidal wave

(and hell to your tags about being worried c3 will become an automatic skip in the fandom - i also really love a lot of the c1 episodes before ep24 and think there's some great character stuff there that a lot of people skip bc orion or because the briarwood arc is where it gets 'good', so im with you on that one. it sucks but it doesn't mean i can't talk about, say, trial of the take, there still are and always will be people in the fandom who've watched it, and there will be even more people who didn't watch it but are glad to find out what's in it because they couldn't find out themselves)

so yeah all to say if you ever wanted to write about c3 stuff you loved, im on your side here

if you're just sad that the fandom reaction to stuff you liked has been overwhelmingly negative, that's also fine, and doesn't make you any less a valued member of this fandom

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when no developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[miss0atae]

Random Thoughts about Gelboys EP1 : The excitement of teen love, nail art and queer identity.

I made the decision to watch this series because it was centered around the turmoil of teen romance with nail art as the basis for the story. If you ask me nowadays if I have any interest for nail art, I would answer with a firm “no”. I have no interest with nail art anymore, but there was a time when I was younger and it was really important to me. I had several nail polishes of so many different colors and I used to change them a lot. I tried to make few designs, but turns out it's far more complicated to draw on your own nails than it is on someone's else nails. I forgot how I liked it back then when I was a teen. This long introduction that has nothing to do with the series, is to show you that I believe the creator of this series made a conscious choice when he decided to put nail art as the basis for the story and that's what I want to talk about in this “random thoughts” about the first episode.

I will make a quick summary of first episode, but you have to know there isn't much happening. This is mostly an introduction of the series' “world” and characters. We get to meet Fou4Mod aka Sakolphat Phlaphithak, a teenager boy who, in the first minutes of the series, discovers that the person he thinks he is dating, is actually seeing someone else too and he ends up blocking them from all his social media and crying from the heartbreak. Then, you'll watch him being a normal teenager: being embarrassed by his mom(‘s old taste in music) as many teens are, going to school, taking the public transport, spending time with friends, being bored in class and socializing. The first day he takes the BTS, he meets Chian and he noticed him because he was wearing nail art. From this point, he became really interested in him and it steers him to try nail art too. Unfortunately, this attraction may cause him some pain too as Chian is described as a “player” by his own friend “Bua”, another character who is a “friend” of Chian and certainly the future “love rival” of Fou4Mod. There is also another important character Baabin Saebal, Fou4Mod's friend.

So as you can see, nail art has its importance in the series. There has always been a social relevance of nail art in our society from a very long time. Unfortunately, I'm not an expert in this, so take everything I say with a grain of salt as my passion from nail art died with me discovering I had allergy to most nail polishes and I stopped caring for this when I entered university. Despite this everyone can agree that nail art is a form of creative expression. It is a way of creating its own identity through fashion because nail art can be seen as just another accessory. The color choices, the length and the shape communicate something about what you like and who you are. It's an easy way to show your individuality, and even if you're not making them yourself, it also shows your taste in art and creativity as you still get to be the one who chooses the design. In the series, the characters' nail art is made with what seems to be gel nail polish technique (I don’t know yet if it’s going to be relevant).

Nail art can be an allegory of queer identity. The fact that you can use different colors and shape to suit your taste, can be seen as letting go of your past self; the one where you couldn't be who you wanted or you had to be the way your parents/caregivers choose for you to be. In choosing some specific design for your nails, you're creating your new self, something that could be more aligned with who you want to be. It's a form of protest too, where you can reject the gender norms. If nail art can be tied to the idea of “femininity” it doesn't mean that it's only meant for this “purpose” (I'm sorry I don't a better word here). In the story of Gelboys, Fou4Mod starts doing nail art because he has developed an instant crush on Chian who was wearing it. It's probably a way of feeling connected to him that steers Fou4Mod to do it. In a way, he is self-expressing by doing nail art that he wants to become closer to Chian. I wonder if in the upcoming episodes, the choice he is going to make in his nail art will be showing the turmoil of his love life. I also want to know if there is going to be a larger discussion of his queer identity. I'm not saying it has to be shown, but I admit I would really like to see it. I feel there is a common pattern with LoveSick 2024 where I felt like young queer love can be mixed with the identity development associated with the transitional stage that is adolescence. Here in Gelboys the identity development could be seen through nail art.

Anyway, I’m pleasantly surprised by this first episode. You can see how I liked the introduction of nail art as I believe it can be queer performativity.

[flower-boi16]

https://www.tumblr.com/flower-boi16/774678304341016576/i-thought-you-already-learnt-in-literacy-class

yeah, the issue isn't wanting the show to have a moral spelled out at the end or even that stol1tz is problematic.

the issue is that the show outright romanticizes its problematic ship - it isn't trying to be some character study of two messed up people without wanting the audience to come to any conclusions. It's blatantly obvious that the show is designed to make the audience think two things:

one: Stolas is only a tiny bit not really flawed and is basically the innocent wronged party in the relationship breakdown and 99% of the problems were caused by Blitzo and his insecurities and selfishness

and two: they actually want us to root for Stol1tz to work out.

and anyone who points out that they have no chemistry or that how Stolas started and continued the whole affair is textbook sexual extortion (something which the show has completely swept under the rug and refused to address) somehow gets accused of being a puritan or having low media literacy? even though critics are ones actually paying attention to the details that suggest stol1tz is a car crash waiting to happen and Stolas has been nothing but babied through the entirety of s2?? make it make sense

absolutely nothing about their duet in mastermind reads ironic, it's all terribly trite and sincere in expecting the audience to think their romance is tragic and moving. there's no reason to think the show is all that interested in exploring the dynamics of a messy relationship because the show outright refuses to meaningfully discuss the worst and messiest part of it except in passing i.e. the transactional deal. ffs, they spent all of apology tour calling Blitzo and Stolas "exes" when they never even dated. the show is outright rewriting its own history solely to avoid talking about the messy stuff because it would make Stolas look bad

also it's incredibly rich that people keep pulling out the "you just want a morality tale where you're told what to think, and that's bad writing!" card when this is literally what apology tour was. the show was outright screaming at the viewer to think that Stolas is the victim, that Blitzo is way worse than s1 had built him up to be and that Blitzo needed to apologize. the whole thing is structured around the moral of Blitzo needing to apologize and Verosika outright saying the point of the episode: "if you wanna change, say good for him (when he runs off to make out with someone else first chance he gets after claiming he loved you)"

I mean Blitzo basically says to the camera "the only reason I rejected Stolas was because the class difference made me insecure and I push away everyone who could care about me". it's incredibly blunt, garbage obvious storytelling

the writing isn't subtle at any other time (cough cough, Stella, cough) but suddenly when it comes fans asking why the writers aren't calling Stolas out for basically any of his shit suddenly the show is treated like some nuanced high art character drama where no one is allowed to openly discuss the sexual extortion shaped elephant in the room.

and it's blatantly not that. the closest helluva ever got to well done storytelling was in s1 and Viv flushed all that down the toilet the minute s2e1 happened

I still find it amazing how my post critisizing the fandom for not knowing what the actual critiques of the show are still holds up today. These are the kinds of fans that pretend that the highest amount of hard-hitting critique for Helluva and Hazbin comes from randos on tumblr when the critisicm these shows get extends far more than just tumblr. If anything, tumblr is less than a FRACTION of the people voicing their issues with the show.

And, if you actually payed attention to discourse surrounding the series on other platforms, mainly youtube....you would find people have far more nuanced critiques than "PROBLAMATIC = BAD!!!".

HELL, Sarcastic Chorus, one of the most popular Youtuers discussing the series, initially liked Stolitz BECAUSE of the problamatic elements, but he stopped carring for it because the show WASN'T ACTUALLY ADDRESSING THEM!!!!

But these fans focus more on trying to strawman critics rather than actually trying to meaningfully engauge with disscussion on the issues with the shows.

Because they can't handle people critisizing their favourite demon show.

[yurisorcerer]

Every week I walk in to the torment nexus and walk out with my heart broken in three places. What a fucking show.

Some interesting play with structure and framing this episode. At last week's conclusion Soyo was shown discovering Mortis, and the whole scene was framed in slasher movie tones. Here, now that she has a better idea of Mortis' whole, you know, thing, Mortis is instead framed as the angry, lost girl that she really is. I really enjoyed (and did not at all expect) Soyo actually playing along with Mortis' whole 'calling the doctor' bit, it shows a pretty deep empathy that I don't really know if we've seen the character express before? (It's been a while since I watched MyGO, so I may be forgetting something.) Also, she apparently spends 3 whole days sleeping over there trying to patch things up, which, while there's definitely a selfish aspect to her motive (she misses CRYCHiC too, after all), I think deserves serious real one points. I don't think I have the emotional stamina to spend 3 whole days consoling anyone about anything.

Full credit to Rana also, who can just intuit what's going on with Mortis and Mutsumi without even actually being told. (She doesn't actually go out of her way to help, though, and spends a decent amount of time this episode playing with cats. Rana remains this subseries' most mysterious character.) Mortis actually seems to develop a bit of a crush on her, and is that a twinge of jealousy I detect from Soyo about that fact? My god, what a relationship chart this series has.

I like Umiri's brief scene in this episode. Forever the eternal mercenary, she describes the breakup of Ave Mujica as though it happened around her and not to her. And yet when Ricky Taki calls her on this, she gets annoyed. Truly the "fake ass IDGF'er" meme in human form.

The first half of this episode, I must stress, is actually pretty light by this show's standards. So of course, there needs to be a breaking point somewhere. Here, that breaking point is between Mortis and Mutsumi, who stirs for the first time in a solid month only to find how awry things have gone in her absence. This isn't what she wanted, and Mortis is appalled to learn so. The two have an argument in headspace, which of course to anyone outside of the Mutsumi-Mortis system's own head just looks like an argument with herself, and she actually carries on so bad that she ends up tripping and falling in front of Live House Ring and making a huge scene, which of course a throng of anonymous busybodies are nearby to witness. It's SO much that it would come off as contrived if the show weren't so set on showing us how badly this is fucking over Mutsumi and Mortis. It's hard to watch.

There is something admirable about the show's complete lack of handholding with this kind of thing. This episode alone depicts multiple conflicts within a fully-realized mental space, a tug-of-war between Mortis and Mutsumi for their collective fate that is just profoundly sad to witness. I do wonder how legible this is to audiences who aren't plural. Part of me---literally part of me---is worried this series might be too ahead of its time for most audiences to properly appreciate.

(I've barely talked about Sakiko here and she is absolutely going through it up and down this episode. From the horrible, obviously untrue claims she makes about not caring about either band or even about Mutsumi, to the fucking folder of notes she's gotten from Tomori over the years, to the fact that she sadly looks for another one despite telling Tomori off for them last week. To. This fucking expression, just, god.)

There's a mostly-lighthearted interlude with Nyamu (it remains really funny that her dark secret, compared to everyone else's, seems to just be that she's from the sticks), but even that is twinged with her finding out about Mortis and Mutsumi's public breakdown. The episode then ends with MyGO finding out about Sakiko's whole extremely fucking complicated family situation. Episode 7 is entitled "Post nubila Phoebus," "after the clouds, the Sun." In most other contexts that would be a shining beam of hope, and maybe it is here too, but I'm fairly sure things will get worse before they get better. (Recall, we still have no idea what's going on with Uika, just as one example, and she's the only character from either band who doesn't put in even a cursory appearance in this episode. Where is she!)

[lover-of-mine]

Lady Whistledown... it's been a minute for sure. You can chose not to post this because clearly BT is dead and deep down they know. But... if you feel like a visit to Narnia here we go......

So basically after the break up yes they were extremely pissed that none of the 911 family cared about Tommy or encouraged Buck to call him. Also the fact Bucks emotional turmoil ended on Eddie leaving not on a Tommy cliff hanger. This also was paired with weeks of how dare the 911 family abondem him because the hospital scene was again a reminder that the 118 is a family. And since in their view I think they picture Tommy as a creature of the night Buck took his family away.

A little bit lately it's going back into Eddie and Tommy territory. You remember how really, they honestly wanted Eddie and Tommy together. Super pissed no Tommy Christopher scenes. Is there any way Tommy can still step in and maybe secretly messaging Chris to get him home?

Also some days pretty gross about wishing Christopher is gone forever so they can open up Tommy coming back to replace Eddie. My Gavin protection and representation instincts can't stand that.

Proving they still are just I don't know not nice people. They hope Tim makes a whole episode that mimics the city burning down all for Tommy to be in a helicopter and Buck freak out. Also it feeds into their spin off show fantasies. But since the air support in LA became a real viral thing this is even better because then Tommy gets to be the real star and Buck the side character.

Orders given frequently on what to comment and not comment on SM. For instance the rain photo a super no no. Ignore the fact it was because of the spoiler and stay in line.

But one weird one. No one actually believes that's Tommy's truck. It's pretty excepted that obviously Buck got a new vehicle after the jeep broke down. We just will never get a back story.

Insane anger over the baking being transferred to Eddie leaving. It's not a Tommy thing it's a stress thing.

Now that we leave Narnia. I would just encourage monitoring in boxes. They know they only have a few weeks to be on their Bsish. They hate Maddies Bucks focus in the promo and depending on how the timline goes also Eddie. Also it's Canon Tommy knew about the "himbo" and the boils call. So when what goes down with Maddie happens, then if Tommy doesn't reach out its purposely erasing the TommyBuddles Buck. There's no space for Tommy. And also bit of spiraling on how exactly is Buck going to act out. Greatest fear? Buck 1.0

Of I remember anything new happy to come back. It's been a wild few months!!

Hello my love 🫶

I see they are still wild out there. I can't believe they still haven't let go of Tommy fixing the Chris situation. Talking about Gavin is next-level evil imo, he's a kid, let him be. The illusions that a scene that very clearly put Tommy as an outsider because he wasn't on the gc and he had to ask for Buck to volunteer the information is so funny to me, like, how clear do they have to be?

This was a wild ride to read tho, I love how they keep surprising me on how unhinged they can get.

[tyrantisterror]

Wife Goals: Harley Quinn

Welcome back, fuckers. It's February, I'm in a bad way, let's talk about the unstable fictional women that I pine for, because fuck you that's why. Last time on this prolonged emotional breakdown, I talked about Ryoko Hakubi, the ancient demon space pirate from the Tenchi Muyo franchise. Today, I'll talk about someone I think we all knew would come up sooner or later - I have a whole shrine to her for fuck's sake.

Funny story - I didn't actually watch Batman: The Animated Series as a kid, despite being a child of the 90's. It, Power Rangers, and Gargoyles were the big 90's shows I just sorta bailed on (and I guess TMNT? I think of that more as an 80's show, personally, but I've seen some people lump it into 90's nostalgia too, so...). I just wasn't much of a superhero fan when I was a kid - superheroes were buff athletic masculine guys, like the bullies that picked on me, and they beat up weird-looking dudes who were obsessed with, like, monsters and spiders and shit, which I related to a lot more, so it just wasn't my scene as a kid. I had Godzilla for my hero-worship anyway, and it's hard to compete with Godzilla for my heart.

I did watch Batman Beyond, though, because it came on after Digimon and what else would I do with my Saturday morning?

Anyway, I don't think I actually saw much if any at all of BTAS until my teens. Pop culture being what it was, I was still loosely aware of Batman and his gallery of rogues, so I knew of Harley Quinn by that point, but I didn't have any particular fondness for the character yet, and even after watching some episodes she wouldn't become important to me until, like, after college.

And to understand why you kind of have to understand what was going on with Harley Quinn at the time. So, ok, Harley debuted in Batman the Animated Series, an exceptionally well-done adaptation of Batman that is specifically noted for taking the superhero comic world's devotion to maintaining a status quo super seriously. And by that I mean that essays have been written on the sort of Calivinist nature of morality in Batman the Animated Series, where if a character is a supervillain, then nothing they do, no matter how well-intentioned, will EVER allow them to break free of being evil. Poison Ivy wants to leave villainy behind and be a mother? Well, because she is Inherently Villainous, she can't help doing it in a way that involves mind control and gene splicing and crimes against humanity. Mr. Freeze wants to save his wife? Well, there's no way he can ever progress that goal without harming people with a freeze ray, and also every evil scheme he concocts to reach that end - a noble goal, mind you - will be foiled, leaving his wife still frozen on the brink of death. If you are a villain in BTAS, you will always, always, ALWAYS be a villain, no matter how hard you try to redeem yourself. The status quo MUST be maintained, no matter how tragic your situation is.

Which adds a meta-textual layer of bleakness to the already incredibly bleak life of Harley Quinn. Harley is a psychologist who fell in love with her patient, and said patient happened to be the Joker, i.e. one of the most notorious supervillains of all time. She turns herself into a supervillain to impress him, throws her career in the toilet in the process, and ends up being used as a disposable tool and punching bag by said villain over and over again. Harley suffers horrendous abuse from the Joker, commits horrible crimes to gain his favor, suffers terribly when she's caught by Batman, and basically repeats this cycle over and over and over and over again.

Because the status quo must be maintained, no matter how bleak your situation is.

It should be noted that, in the (intentional or not) Calvinist nature of the show, Harley's misery is clearly intended to be a direct result of her flaws. In Batman the Animated Series, pre-villain Harley is explicitly stated not to be a good psychologist to begin with - she was not smart enough to earn her degree honestly and slept with her teachers to raise her grades. Never ethical or talented, it's kind of treated as though her situation is her own fault for not growing as a person like she should have in the first place, which, uh... I don't think that element aged well at all, honestly.

But, luckily, Harley proved popular enough that the Batman the Animated Series take on her didn't remain the ONLY take for very long.

In fact, Harley's popularity grew so big over time that by the 2000's she got her own solo series, which came with a big problem to solve: how does Harley Quinn, a character who revolves around the Joker, who in turn revolves around Batman, work as a character without the two characters she was designed to orbit around? She's a moon, not a star, how can that work?

Well, Harley had to change, and that meant the status quo had to change.

Harley breaks up with the Joker and tries to, well, not go legit necessarily, but be a more low-profile kind of supervillain so Batman stops punching her in the face so much. More mischief and misdemeanors and less murder and manslaughter, and when she does kill someone it's, like, a serial killer or assassin, so basically fine. Because her relationship with the Joker is, like, the PICTURE of an abusive relationship, Harley becomes this picaresque figure, escaping from her chains to run free and rampant, and inviting us along for the ride.

And with that independence as a guiding theme, Harley got retooled a bit. She's always been a cheerful goofball, so it's not really out of character for her to help people now and then, albeit in a chaotic, mayhem-filled way. And hey, she has a degree in psychology - what if we just ignored the original intent and presented her as legitimately good at it? That brings a new sort of pathos to Harley Quinn, if she was a genuinely talented and dedicated person who stumbled once and paid severely for it - and it makes us invested in her quest to find some way to pull herself together after falling so hard.

And... that's kind of sympathetic, isn't it? It's hard to screw up worse than Harley Quinn did, it's hard to ruin your life more than she did, and yet here she is, still trying to pull it together in spite of that. She lives in a town so dark and depressing it has "Goth" in its name. Her ex-boyfriend is a killer clown who is infamous in-universe and out as one of the most cruel and monstrous villains of all time. Her resume consists of "psychiatrist who slept with her patient" and "moll for the most notorious serial killer alive." In many continuities she has permanently dyed her skin chalk white. You simply cannot fuck up worse than Harley Quinn has.

And yet she keeps trying. There's something heroic about that.

Harley has been beaten and abused by the man she gave up everything to be with, and yet she keeps trying. She is hated by most of the world because of her villainous past, and yet she keeps trying. She can never, EVER go back to the life she had, to the career she went to college for, to the stable, normal life she at one point wanted, and yet she KEEPS TRYING. She lives in the world of superhero comic books, where any significant change to the status quo is (almost) ALWAYS undone, where character development is considered a mistake that has to be unwritten, where redemption is impossible because once the narrative decides you're a villain that's what you will (almost) ALWAYS be...

And yet. She keeps. TRYING.

In a world that is determined to treat her as a punching bag, Harley finds a reason to smile, to hope that life will get better, to laugh and try and find love and happiness and joy. And her hope was so strong and so infectious that it changed the status quo. Harley being the Joker's punching bag hench-girlfriend used to be all she could aspire to be, but now? That's just her origin story, and she's become so much more than that.

She's a mess of Red Flags, an absolute fuckup of a human being, a terrible person, but goddammit, she is TRYING to be better, she is trying to make herself a good person, she is trying to make the world smile, and through all the shit thrown her way, she still believes in love and happiness. I don't just like Harley Quinn or crush on her the way I do with other fictional characters - I'm inspired by her. I strive to have some fraction of her resolve, her determination, her steadfast will to survive and thrive. Because if she can make it, if she can laugh so loud that the immutable law that is Comic Book Status Quo will bend for her, then dammit, any of us can do it.

...

Plus she's a hot lady in clown makeup who wears leather jackets and skin-tight acrobatic tights, I mean c'mon now almost everyone's down for that on some level

[heloflor]

Ok so last week I saw the videos/screenshots talking about fop Peri which got me a bit curious about this show, and after seeing “Battle of the Dimmsonian” and especially the Cosmo-Wanda-Peri part of “Lost in Fairy World” (there’s someone on Tumblr posting clips of all the Peri-centric moments since his debut), I was genuinely impressed with how the characters were written and I wanted to gush about them! On top of doing some overanalysis of those characters. Btw I also saw some clips from “Operation: Birthday Takeback” (again the Cosmo-Wanda-Peri side of it).

So here’s a post talking about Cosmo and Wanda’s relationship with Peri, Peri in general, Peri with Dev and a few other random thoughts about the early episodes given this made me start to watch the show (ended up making it its own post), though I haven’t gone far yet (I’m on like episode 5-6, which is episode 4a or something). On that note, take what I say in this post with a HUGE grain of salt since I don’t have the full context for Dev’s character arc.

Tl;Dr: The Fairywinkle-Cosmas are adorable, loving but also realistic in their portrayal.

Peri is the definition of “20 years-old who recently left his parents’ home” and I love him for it.

Dev and Peri are a terrible match due to Peri’s inexperience, Dev not taking him seriously, and Dev’s daddy issues making it hard for him to connect with a fairy who has loving parents.

(Btw on top of the characters moments, what made me start to watch the show is also the fact it’s apparently incredibly wholesome and fun + apparently the writers of “Infi//nity Train” worked on it (and if that’s true it’s crazy how nobody is talking about it to bring in new fans; I mean remember when the Duck//tales reboot came out and everyone pointed out how the writers of Gra//vity Falls worked on it? We should do the same thing here, at least again if it’s true) + Hartman isn’t involved and it’s hilarious how the creator of those characters not getting involved is a good thing)

Oh and spoilers for “Battle of the Dimmsonian”, “Lost in Fairy World” and “Operation: Birthday Takeback”! (4.6k Words below)

--

Ok so “Lost In Fairy World” and why I love its characters’ writing so much. I’m actually going to start by the lesson at the end and build from there as it seems like the best way to get a train of thought going.

So the lesson of the episode for me was basically a “new hire vs experienced employees” with a second layer added due to the three fairies being family, and that’s already something I really appreciate!

By the end of the episode, Cosmo and Wanda learn that they need to back off and let Peri do his thing. He’s an adult, he got hired for a reason, let him do his own trial and error and learn his own way. But at the same time, Peri shouldn’t be afraid to ask for help or advice if he needs it, the more experienced people are here for that! And again, there’s the family layer to that discussion that I really like, with Cosmo and Wanda being particularly clingy bc Peri is their son, while Peri is particularly embarrassed to ask them for help because they’re his parents, probably not helped by the fact he likely very recently left their home and seeks his independence.

And that’s another thing I absolutely love after watching this episode and “Battle of the Dimmsonian”, with “Operation: Birthday Takeback” adding to it as well: Honestly, Peri has to be one of the most realistic depictions of “20-something who just left his parents’ house” I’ve ever seen (yeah I don’t watch much stuff outside of cartoons, working on that). They somehow managed to make him very clearly be an adult with adult responsibilities, all the while giving him a level of inexperience and immaturity that reminds you he’s still young.

Giving some examples, the way he talks in general makes it obvious he’s an adult, and when introducing himself to Dev + telling him he can’t visit Fairy World in “Lost in Fairy World”, he has that suave put-together personality to himself. But at the same time this suave personality crumbles the second Dev opens him mouth.

And on top of that, Peri’s one day into his job and his already exhausted, spends the entirety of his debut episode worrying about what his parents will think of his career choice, and in stressful situations tends to turn towards others for help very quickly (reading Da Rules, low-key panicking a bit and looking at his parents in “Lost in Fairy World”, hiding when facing Vicky, moments like those).

There are also those moments where he either acts or sounds childish (with his voice even getting a bit higher), like when Wanda asks if he has a godkid plus him hiding behind his wand right before that, and earlier on when he didn’t want them to see him, the “my wand is missing” line and tracker line in “Lost in Fairy World” (the “sowwy” when telling them his tracker is off tho), the ending of this episode as well when he apologizes to them, also when his parents tell Jorgen that Peri did nothing wrong and he lets them take the fall, or that moment in “Operation: Birthday Takeback” when he goes “moooom” with a whine.

That’s actually something I absolutely love about those interactions, and why I find them realistic. It could have been SO easy for the writers to make Peri act like an adult all the time while his parents are the coddling cringy kind that make him look like a kid. But instead, it comes from both sides. You can clearly tell from how Cosmo and Wanda act that he’s their baby boy, but you can also see from Peri’s dialogues and actions that they are his parents. And I am so happy they took this direction!

So yeah, Peri is the most “young adult who just left the nest” ever and I absolutely adore this characterization. He’s an adult with a job and responsibilities, but he’s still young and can find himself relying on his parents or talking to them in a childish way. Such good character work!

Another thing I love about their dynamic that we see very well in “Lost in Fairy World” is just how much those three love each other. That’s something I did hear about this show, that it was a lot more fun and sweet (compared to the og which could be very cruel and cynical when it wanted), and you can really see it with those three.

With Cosmo and Wanda taking over Peri’s job, you can tell they’re not doing it out of any malice or feeling that Peri can’t do it. Heck if you pause at the scene where Peri tells Dev he can’t go to Fairy World, after he’s done talking and right before Cosmo takes another picture, you can see Cosmo and Wanda looking at Peri with the biggest smile (and it’s adorable!). And it’s the same with the rest of the episode. If anything, they’re so used to taking care of godkids that they just do it out of habit, without realizing they’re causing an issue.

Heck I’d even theorize that their behavior is partly due to their time with Timmy, hence it being a force of habit. For a long time (possibly 50 years if that one secret wish is canon), Poof/Peri was with his parents helping with Timmy, but he wouldn’t do much besides granting wishes. Poof couldn’t talk, so most of the time he’d just stand there while his parents did all of the talking. I wouldn’t be surprised if some of this was the reason why Cosmo and Wanda are straight up talking over Peri in “Lost in Fairy World”, they just got used to do so when taking care of Timmy and are now getting back into this habit.

On top of that, Cosmo and Wanda are just excited to finally be with their son again after their 10 thousand years-long vacation. Plus, when Peri does call them out, by the end of it they acknowledge their mistake and apologize, promising to back off. And while they remain cuddly towards him, from the looks of it they did stop coming in-between Peri and Dev, letting their son do his thing.

Also worth noting that, despite doting on Peri, they still very much talk to him like they would talk to an adult. Yes they hug him a lot (and I mean a lot) and call him pet names, and they were definitely excited to see him again in “Lost in Fairy World”, but other than that they clearly respect him as an adult, listening to him and trusting him. I’m not going to list examples because it’s basically every dialogue in which they don’t “baby” him. That being said I feel like “Operation: Birthday Takeback” displays it the best from what I’ve seen of it.

As for Peri’s side on this, he’s annoyed by his parents stepping in but it’s obvious he doesn’t hate them at all, quite the opposite. He just wants them to take him seriously as an adult, which is understandable. Also the fact he isn’t afraid to call them out is a very good sign. On that note, I love how when telling them his tracker is off, he actually apologizes (though he doesn’t have to, his reasoning for turning it off is understandable, and I appreciate he tells them those reasons!).

Also I live for that scene at the beginning of “Operation: Birthday Takeback” when his parents ask for a tour of the house (btw love Wanda telling him they’re ready to get him out of there if needed), they show interest in his suggestion, which makes Peri smile sheepishly. It’s such a cute moment and to me really shows Peri wanting to be seen as an adult and enjoying being seen that way by them, but also how he’s clearly attached to them! Idk it’s just a very cute moment! I love those three!

Also kind of a last minute addition before moving to Peri and Dev but looking at “Operation: Birthday Takeback”, I can’t help but laugh at how at the very beginning, the second the godkids are doing their own thing, Cosmo and Wanda throw themselves at their son. It’s very sweet. Also I love the implication that they’re here bc they’re Hazel’s godparents and need to stay with her, but also they really wanted any excuse to see their son!

And the reason why I say last minute addition is because this made me realize that Cosmo and Wanda do act pretty differently towards the godkids compared to Peri, which I find to be an interesting detail that makes their characters more complex in a way. Like yes, Cosmo and Wanda are very parental types, but to an extent you can see a line between them being with their godkids, who they are here to mentor and steer in the right direction for a few months until the kid is happy, and them being with their son, who they raised from infancy and isn’t going anywhere.

Now that’s not to say that Cosmo and Wanda don’t love their godkids, it’s obvious how much they adore those kids and care for them and probably remember each and every single one of them, but yeah you can still see a bit of a difference. At the very least, from what I’ve seen so far they can’t help but hug Peri literally everytime they have an excuse to do so, while having a bit more boundaries with Hazel.

But again, that’s a last minute thought and I’ve only seen a handful of episodes, so I might be wrong on that. Take it with a grain of salt. Still, I find it interesting to have those characters who are basically social workers and how there’s a bit of a difference between the kids they take care of for their “job” and the kid they have in their personal life. Again, that’s not to say they aren’t attached to the godkids, they are.

But yeah, all of this to say, the way the Fairywinkle-Cosma family is written in “Lost in Fairy World” honestly blew me away and really got me invested into watching this show, with “Battle of the Dimmsonian” and “Operation: Birthday Takeback” only adding to it (and I’m probably looking way too much into this and making it sound like the writing of this episode is much deeper than it actually is; I’m obsessed with this disaster (affectionate) of a family, help).

As for the part about Peri and Dev, basically there’s an element of Cosmo and Wanda talking over Peri in “Lost in Fairy World” that I wanted to explore, but then “Operation: Birthday Takeback” came out and there’s that moment in the “breakup” scene where Dev talks about his father not noticing his fairy while Peri is being hugged by his parents in the background. And while this is a visual gag, Cosmo and Wanda’s action in this scene actually fits very well thematically and made me realize something about how Dev might feel about Peri.

So now you’re getting a whole section about how Dev and Peri are a terrible match for each other, due to three main reasons:

1. The one everyone already talked about, Peri is severly underqualified. While you could say he’s been a godparent since he was a baby, back then all he did was grant wishes while his parents dealt with the talking + emotional support. Not only was he doing a small part of the job, he also had his parents, other more qualified fairies, helping him. Also the scene with Vicky tells us that Peri doesn’t have the best memories of his time as a baby, which is fair enough.

(note that I believe he was 7-8 years old when he had to say goodbye to Timmy, so he does remember him. As for Vicky, Timmy’s parents likely stopped hiring her once their son was 13-14, hence why Peri only has blurry memories of her, he would’ve been a toddler at best by then)

So yeah, Dev is Peri’s first kid, and Peri is not qualified for him. He loses his patience with the cupcakes, bites back when Dev is short and snappy with him (the classroom scene at the end of the “under//tale” episode, yeah I haven’t watched this one outside of this scene; and the beginning of “Operation: Birthday Takeback” with the flying shoes) and don’t get me started on Peri telling Dev in “Battle of the Dimmsonian” to give the staff back because “what will my parents say if my first godkid dies on me!”

Like PERI??? MAYBE DON’T SAY TO THE KID WITH ABANDONMENT ISSUES THAT YOU ONLY CARE ABOUT HIS WELLBEING BECAUSE YOU WANT TO IMPRESS YOUR PARENTS??? JUST A THOUGHT???

(note that I do believe Peri cares for Dev, it’s just that what he says here really comes off as him not caring, and since Dev is the one hearing what Peri says in that scene...)

Also obviously there’s the ending of “Operation: Birthday Takeback”. Tbh I don’t blame Peri much for this one since, again, he’s severely underqualified, but yeah his response to Dev’s wish was not the right one, which is reflected by Dev reacting with a frustrated scream which honestly made me feel bad for this kid. Peri going “as you wish” is just too distant and “professional”. That’s a kid in a vulnerable state! He needed comfort! Sure Peri had to go because Dev literally wished for it, but a more qualified fairy would have known what to say, if only something along the lines of “take all the time you need, I’ll be there for you once you feel better”.

So yeah, Dev is deeply hurting and a complete newbie who doesn’t have the patience or positivity for it was not going to make things better.

2. What I originally wanted to say about “Lost in Fairy World” before 3. showed its head: I think Cosmo and Wanda being around inadvertently makes things worse for the duo.

Thing is, Dev is a difficult kid. Because of that, I think that in order for him to open up to his fairy, said fairy needs to earn his respect so to speak. And not to say Dev’s fairy should be full on authoritative, but yeah they definitely need to be someone Dev respects and listens to, which is not the case for Peri. And I think the main reason why has to do with Peri’s relationship with his parents.

Basically, kids are smarter than we give them credit for and are observant as well. And what did Dev see his fairy do? Spend the first day on the job being terrified of meeting his parents who turned out to be incredibly sweet people. Then in “Lost in Fairy World” it honestly looks like Peri, Cosmo and Wanda just wanted to catch up and brought the kids for the heck of it, and Dev gets to see his fairy being babied by his parents, along with said parents talking over him. Then as said before there’s also Peri going “mooom” in front of Dev in “Operation: Birthday Takeback”.

And about “Lost in Fairy World”, there’s that moment in the beginning where Cosmo and Wanda tell Dev he can’t go to fairy world, only for Peri to step in and basically repeat the exact same thing as his parents (the “trial” part from Cosmo and “I can’t let you go” from Wanda). And while this line is a joke, I do think it’s important for Peri to put his foot down like that.

Because yeah, Peri is the one Dev should be listening to. It’s not just a question of “this is Peri’s job”, it’s also about Dev seeing Peri as an adult. But with Cosmo and Wanda, it’s a bit more complicated.

This is also another element I really like about this episode, Peri needing to be the one doing the talking so that Dev can take him seriously as a potential guardian.

But yeah, the thing is, it’s not working. Peri’s immaturity shines with his lack of patience for the kid, which Dev picks up on, leading the two of them to get snappy with each other on “even ground” in a way, which doesn’t help Peri’s case. And on top of that you have Cosmo and Wanda, who even with their eccentric side remain mature adults (and I love how them being eccentric doesn’t make them seem any less adult; love adults being allowed to have fun and be themselves without being shamed or called childish for it!).

Now as far as I’m aware the show never really talks about this, but I honestly wouldn’t be surprised if Cosmo and Wanda being around played a role in Dev’s perception of Peri. Not only because of them being mushy parents as previously discussed, but also because they are clearly older and more experienced than Peri, making it harder for Dev to take Peri seriously. Hopefully this makes sense?

And speaking of Dev with Cosmo and Wanda, I actually get the feeling he somewhat respects them? At least more than Peri? And on that note, there’s that scene at the very beginning of “Operation: Birthday Takeback” that I find both adorable but also pretty depressing when it comes to Dev.

When Cosmo, Wanda and Hazel show up, they ask if Dev’s dad is here, to which he mentions “Project H”. And at that Cosmo makes a comment about this project being a big surprise party, and yeah this moments gets me.

Because for a second there, Dev actually smiles. He knows that what his dad is doing has nothing to do with the party, he says so himself in response to Cosmo, but he still smiles, because he understands that Cosmo is trying to cheer him up and appreciates the effort. Idk this gets me, especially also seeing the way Wanda and Peri are looking wary as Cosmo keeps talking, clearly unsure of how Dev will react.

Like am I making a big deal out of a ten seconds moment? Probably. But there’s just something about this sad kid closing himself off whenever his problems are brought up, acting like an entitled brat most of the time as a coping mechanism, yet when this random adult he vaguely knows tries to cheer him up, he’s able to understand it and appreciate it. Idk, again, it just gets me. And sadly it really shows how bad of a match Peri and Dev are. Peri hasn’t been able to get any sort of progress with this kid, but the second his dad shows up and talks a bit suddenly the kid is giving a sincere smile. Yeah…

Now granted in regards to Dev respecting Cosmo and Wanda more, it might also have to do with them not being his godparents, considering Dev is basically using Peri as some sort of servant at times since he’s a spoiled brat and all.

Finally for this part, I want to bring up that scene in the secret lair with Vicky showing up, because to me this is a very good example of Peri actually failing Dev, which in this case will make the kid not take him seriously (on top of not earning his trust and being frustrated with him).

Now I will say, I can’t blame Peri for panicking the way he does upon seeing Vicky (btw I forgot to mention it earlier but the way he goes “lalala” and continues while turning into a drone and looking at the banging door in horror is so real. Again Peri is peak young adult energy). He’s had to deal with that woman since he was a literal infant, of course he’s going to be traumatized!

Still, Dev doesn’t know that. All he knows is that there’s this scary lady his and Hazel’s fairies know about, but he has no idea what history is between them outside of “she was terrible to our previous kid and scares us”. Also he’s 10 and has a bad home-life making him selfish, I don’t think he can fully understand the adults around him being traumatized.

But yeah, all this to say, in this scene, Peri is completely paralyzed, hiding behind the others waiting for Vicky to leave, letting his parents do the talking. And yep, we yet again go back to Cosmo and Wanda being the mature adults around here. Also worth noting that once Vicky puts on the nice act, Hazel stops being afraid of her but Dev still looks intimidated!

In that moment, Peri should have been there to protect Dev. That’s his job as a godfairy. His kid was scared and in potential danger. Yet Peri did absolutely nothing. Instead he stayed hidden, technically behind his kid which means using Dev as cover, and who came to both his and Dev’s rescue? Cosmo and Wanda, the other two fairies in the room, who are clearly more mature and are Peri’s parents.

And again, I don’t blame Peri for being paralyzed in fear like that, but how do you explain that to Dev? How do you tell that kid that he’s braver than his adult magical all-powerful fairy? That while he had to stand and somewhat confront Vicky, that adult fairy that’s supposed to protect him went hiding behind mommy and daddy? Hell from what I’ve seen, earlier in the episode the kids do stand up to Vicky, which makes Peri’s actions worse!

So yeah, hopefully this whole part makes sense as it feels a bit like a mess. The main takeaway here is that Dev needs a fairy that he can see as an almost parental figure, someone he clearly views as an adult and respects as such, that way he can have someone he can trust and be comfortable with, easing him into breaking down his walls. But Peri isn’t any of that. He’s a young adult which makes him still quite immature, and on top of that his parents basically live next door, thus leading Dev to see his fairy getting treated like a kid. It just can’t work out between them as long as they stay like that.

3. Finally, the part related to that moment of Dev talking about his dad while looking at the fairies: Dev has some serious daddy issues related to his father never paying attention to him on account of being a piece of shit who only cares about himself. And the thing is, Dev doesn’t have anyone he can relate to on that front (saying this since it’s hard for him to open up, so having someone with similar issues could be a bit of a push for him).

Hazel has caring parents whose main issue is being busy, on top of her fairies who clearly love her and spend a lot of time taking care of her. Now I haven’t seen much of the school kids but also Dev isn’t exactly close to any of them apparently? Meaning that in any case he can’t relate to them.

Then there’s this fairy that shows up, meant to cater to him but also help him emotionally, and wouldn’t you know this guy talks about wanting to impress his parents and being afraid of them! No but seriously, thinking about it, I can’t help but wonder if for a moment Dev thought he and Peri could bond over family issues, at least subconsciously. But nope! As soon as Peri reunites with his folks, turns out they’re the sweetest most loving parents ever.

I’m actually surprised that from the looks of it the show doesn’t draw a parallel between Dev and Peri on that front. I mean you have a kid with an incredibly absent parent who wants nothing more than to get his dad’s attention, being taken care of by a fairy who finds his parents’ attention suffocating and just wants them to leave him alone. There’s interesting storytelling potential here, especially when taking into account how much those two struggle to get along (basically Peri’s family situation making Dev feel worse in a way due to his confusion as to why Peri puts a bit of distance between himself and his parents)

Which loops back to that scene at the end of “Operation: Birthday Takeback” with Peri getting hugged by his parents while Dev is opening up about his daddy issues and how this visual gag fits the theme of the scene. Dev is feeling like shit about his father not loving him meanwhile the fairy that’s supposed to take care of him is being cuddled by his incredibly loving parents who adore him.

On that note, there’s an element I haven’t touched on in this episode, and it’s the fact that Hazel and Dev were in trouble with Vicky but didn’t have their fairies to protect them due to the trio visiting the house. While this scene is another example of Peri failing Dev, what I find most interesting about it is the fact that Peri “abandoned” Dev to spend time with his parents. Idk, I can’t help but think that this detail twists the knife even further for Dev. Not only was his fairy not here to protect him, but his absence is due to him hanging out with his parents who love him and wanted to spend time with him.

Speaking of which, I wonder if Dev is also angry at the fact that Cosmo and Wanda are able to take care of Hazel and be there for her whenever she needs while still finding the time to hang out with their son and be involved in his life. In a way it’s further proof that Dale is an atrocious parent, at least when taking into account Dev’s pov since I doubt a kid his age spends a lot of time hanging out with other parents, so Cosmo and Wanda are basically the only couple he can compare his father to. Basically I could see Dev noticing how much Cosmo and Wanda do and it making him feel even worse about why his dad doesn’t love him the same.

But yeah all this to say, just like everyone else in his life, Peri can’t understand Dev’s issues with his father, issues that are the core reason why he has a fairy in the first place. On top of that, Peri not only has the one thing Dev wants, but the kid sees him push it away on numerous occasions.

And that’s the end of what I wanted to say here. Hopefully this isn’t too much of a mess since I’m writing this while sick + sleep-deprived due to illness + haven’t watched much of the show past a few episodes and the clips on Tumblr.

On that note, yet again please take this post with a grain of salt, especially the Dev-Peri part. I originally just planned on gushing about “Lost in Fairy World” and how much I love the Fairywinkle-Cosma in it, but seeing the ending of “Operation: Birthday Takeback” made me want to talk a little more about Dev. That being said given how little I’ve watched there’s probably a lot I’m missing about this kid, so by no means do I think this analysis is perfect (also, the fact I’m writing this while ill…). Now Dev does seem to be a “predictable” character, hence why I feel somewhat comfortable writing this despite seeing so little, but again I might be wrong.

(Btw when I say Dev is predictable I’m in no way saying it negatively, quite the opposite! I love that him getting a fairy low-key made him worse, and I’m very curious as to how they’re going to resolve him spiraling the way he’s currently doing.)

In any case, thanks for reading!

[hauntingblue]

Gear 5 luffy's laugh is so contagious I just hear the drums and go insane how does this work. What did he do to me

[longagoitwastuesday]

Sukuna and Gojo didn't have the right to be such good characters, but there they are I guess

[hollowflight-propaganda]

I think it's time I change my bio to say it's been 11 years since I started to watch Ninjago.....

Gosh. Where's my senior discount on the lego sets, huh?

[sskk-manifesto]

Ep 6!!!

[solace-seekers]

screaming into the void <3