#which i suppose makes sense that most of the important characters in this sort of game of thrones like season would be shown right away

[dimension-20-every-introduction]

There are no new Introductions in Dimension 20′s The Ravening War episode 3.

[eyepatchdate]

i have complex feelings about it but in td when karkat is actually like fully integrated, he is much more static because the story is... Less directly affecting him? hes there as Dave's Boyfriend largely

[respectthepetty]

Wild Ass Theory - IT'S ABOUT TYME!

As much as I think Tyme is coding on that table in the first episode, I believe both of them are dying, and it would make sense that Great is on the table coding at the exact time that Tyme gets shot since that's what we were shown, which could mean they end up here as some sort of limbo

Because at first, I thought maybe they'd go on a little vacay together, but we only have eight episodes to bake this biscuit, so . . .

Tyme wants to stay in limbo but Great knows neither can, especially Tyme who needs to survive, and when Great is banging on the door in the trailer, it's Great's apartment that he is in because the paintings and pool table are there but Great is missing.

But the biggest WTF is in the first episode scene when Tyme is shot, it's raining on him,

Just like it is in the hallway from the trailer.

TYME NEEDS TO LIVE!

I think the light from the doorway is the light the patients mentioned seeing from the operating room, so I don't think this is the light of heaven. I think Tyme will survive, but Great is wearing white all the time which the patient said she thought were angels but were actually nurses, but . . . like . . .

Once a character wears white, chances of death increase because blood shows up well on white or something, but also Great's powers are pulling him to Tyme which we saw with him being kicked back so he would accept Tyme's dinner request, so all roads are leading him to Tyme, so is Great the angel who is supposed to save Tyme or even sacrifice himself for Tyme?

Once again, as much as I think Tyme is on that table, it makes sense that Great is being operated on because we keep seeing the light over him as if he was on the operating table!

(There is also another theory about the light but I don't have time for that)

So what I'm trying to say with my cork board and sticky notes is that even though the show is being framed through Great's perspective, the most important character is Tyme since he is the one who needs to make it out of limbo, so Great has to make him see the light.

(Also, I think this woman is connected to Tyme)

TLDR: It's about Tyme

And Great needs to save him.

[skimmeh]

I'm curious about your Mumbo, can you tell me more about him? I saw that in some of your doodles he has a mechanical arm and in others he doesn't, is that canon for him or are you still working out his final design?

I'm still working on his design! But I can tell you all the inspirations I have!!! For his design!! 

He's supposed to be the guys really into robotics (cos you know cc mumbo all about flying machines and they are the closest you can get to robots in villain Minecraft... Rip copper golem) 

So I knew I wanted to make him have like alot of robotics and stuff, that arm was like an idea for extra arms he might use to help with his work.

But then I decided I wanted to kind of stick to a theme. And I came to the idea of the robots being they bug inspired (specifically at first spiny flower mantis) , beacuse that sort of link to my idea of his characters being very intrigued by plants (with s8 potato stuff and then s9 buttercups). So the idea that he uses plants and flowers as like the intelligent force inside his robots ..think mech suits for plants!! 

Then Grumbot! Which important character connected to mumbo ..of which I'm still designing. I thought it would be sweet if his heart was a potato plant! Which is double cute cos potato flowers are kind of star shaped!!! 

And then I started thinking about, you know how there was the phrase when clear cases were a thing on every electronic to look cool. That kind of reminds me of certain bugs!! Or frogs, when you can see their organs! Of which I thought also fitted, if Mumbo's robotics in this au would powered by plants, the idea that most of there outer shells are clear ..makes sense because plants need light, green house type vibe. 

I know this is mostly me just rambling about Mumbo's robotics rather than mumbo himself.... But honestly that's most of the inspiration behind mumbos design!

I'm still working on them ..SOOO this me more talking about the ideas I have then showing anything I've drawn yet haha

[thechurchoftheradiodemon]

I've been mulling over something. I read one of Vivzie's interviews lately and I've come to some conclusions about Alastor's character (these are just my own theories, though, so we'll see how everything actually develops in s2).

Unfortunately, I believe, canonically, Alastor is NOT aromantic. Maybe on the aro-spectrum, and deffinitely asexual, but not aro per se. In this interview, Vivzie confirms Alastor's asexuality, and plays with his aro identity saying something like "I don't want to ruin people's fun with him". This could be queerbaiting in a sense (I don't actually think so, when Vivzie is high on queer representation, but aro people are very left behind in the community, sadly).

But she continues to add on that there are plans for Alastor in the future of the series, saying something like "I can't confirm that he is aromantic". To me, this reads like we will see romance in Alastor's life in season 2, wether it's a past lover/romantic interest or a new one I could not say. She would've had no problem in confirming Alastor as aromantic otherwise, and I interpret this as Vivzie not wanting to spoil part of the plot.

I used to think that Alastor's deal would most surely be with Lilith, but, while it could be the case, I'm not so sure anymore (although it could be a fun dinamic). But, nontheless, I think Lilith's and Alastor's 7 year absence and his deal are intertwinded somehow.

My bet, for the future romance plot, is that it could be one of these three: either Lilith, whom the fandom is already considering in a sense; the mysterious Eve, or... Lucifer. HEAR ME OUT. I don't say this as a Radioapple enjoyer. The reasons I think it could be Lucifer are the same that I think it could be Eve (although we know absolutely nothing about her).

Mainly, I draw these conclusions from the early comic Zoophobia, from where we know Alastor's character was taken. In this comic, his character is supposed to have a crush on the character of KayCee, a powerful being with whom he could have made an alliance to reign chaos.

KayCee's descriptions could match either of the three romantic interests I mentioned, but what strikes me more are her defining traits: white and gold colour palette, and the apple. We know not all of Vivzie's characters stem from Zoophobia, and the ones that do have (understandably so) went through important changes through the years, mediums and aesthetics.

BUT these could be some clues into what we might discover in s2 of Hazbin. And, so long, the character we've seen fit this palette and apple motif is none other than Lucifer himself. Eve, on the other hand, is also shown during the intro sporting some sort of apple motif, which could be indicative of her future appearance in the series. But we know so little about her, and, knowing Hazbin Hotel will only have 2 seasons confirmed, I'm not sure we will see more of her.

I personally don't like the idea of losing Alastor as an aromantic character. I'd much rather not see him in a romantic relationship whatsoever in the canon series. But that is not my call to make, and he will always be our ace-king no matter what. Also, that wouldn't mean his story or character will be less interesting or developed. So we'll have to wait and see...

(This is visual representation of me reaching these conclusions, btw)

I would love to hear what other fans think about this, so if you want to leave and opinion in the comments we can discuss!

[macknshift]

THE ONE WHERE . . . I INTRODUCE Y'ALL TO LEO!

SOOOO…i have mentioned leo in like, 90 different posts atp and never actually made a "leo intro" (mainly bc i have weird feelings ab sharing him heavily to the rest of the world lol) but! i figured now would be the best time to get into explaining him to y'all.

LEO , commonly given the last name SCOTT (depends on the dr!) is actually originally the main character's love interest in a hockey romance book i've been in the process of writing. after getting #sickandtired of annoying ass book men i gave up and began drafting one of my own. the main character is literally me (i mean, for christ's sake her name is sloane mackintosh,) and eventually, i began thinking of him in other "au"s (i used to do this a lot on wattpad - i mean DRs but the term AU is usually more digestible to ppl that may not be aware of reality shifting. Anyways.) and began kind of placing him in everything. a list of the drs he is my love interest in is follows;

BETTER CR : (fc silasj2004*) the hockey romance book pretty much as a dr. small changes occur but basically he's the exact same as leo in the book lol

PARENT DR : (fc jack schlossberg. yes. i am one of those girlies. i am not ashamed! at least he has morals + a backbone y'all this could be much worse) the "backstory" is my better cr dr. i'm now a mother of 3 (amelia or mimi, aged 5, giselle or gigi, aged 4 and i'm pregnant with vincenzo, our final kid,) and it follows our life after what would be the events of the book. i sort-of made it also as like a WAG dr in a sense bc leo is a professional hockey player! (but he retires 2 years before this point in time so idk where my thought process is w this lol)

FORMULA 1 DRIVER DR : (fc pato o'ward MY!!!! mclaren man ln4 U ARE NOTHINGGGGGGG) leonardo dempsey, son of actor patrick dempsey (my forever celebrity crush ugh he's so fine) and driver for aston martin aramco f1 team under #99. i essentially took l*nce str*ll's daddy's boy backstory and gave it to leo bc he is indeed a daddy's boy. the only dr leo and i are enemies to lovers bc i'm too obsessed w him otherwise LMFAO

MARVEL DR : (fc marcello hernandez (MY MAAANNNN)) leo scott, secretly the speedster superhero 'comet'. hired by my dad as essentially a bodyguard (leo's not intimidating AT ALL idek how the hell this is supposed to work LMFAO) as comet and knows me out of costume as his sister's roommate (mj is also in every dr ever and actually is here in this cr. i can never leave her out i love her DOWN) basically marichat vibes (god i miss marichat)

POP STAR DR : (fc marcello hernandez, again) leo sinatra, nepo baby great-grandson of frank sinatra (there's a whole, incredibly large bit of lore ab this LMFAO + he's also a great-grandson in my better cr dr too bc i need my man RICH!) and Saturday Night Live cast member. basically i go on snl and immediately fall in love. i've stolen the 'unlikely couple' weekend update sketch for us & he does domingo, which is my song lol we're funny for it idk

THE FCS, in color photos:

i'm missing like, 18 other drs that i can think of but some important info about him;

he's half oaxacan mexican. i've tried my damnedness to find a way to make it obvious but when i was 'designing' him (aka drawing him out) i used jack, silas (*NOTE: he is leo's typical fc if i don't have an designated one for him) and marcello as references to make him look the most like him as i can. the fcs are kind of loose for him but i need a way to like fully visualize him. so. yeah. his 'color palette' (weird way to put it but idk how else) makes him tanner than all three of them i fear. all of the fcs i use (other than jack schlossberg but like. idk his main celebrity lookalike in the better cr is him so i kind of had to) are latino, but i feel like it never ever properly translates when i talk about him bc his name is fucking leopold scott. like. huh.

he's also tall AS FUCK lol and built like a tank lowkey (think tom welling clark kent GOOD GOOGLY MOOGLY) but it's mainly bc he's a hockey player. in every vers he's like. 6'3. shortest he is is w marcello as his fc and even then he's 5'11. (note in pop star dr he gets a lot of comparisons to jacob elordi for some reason??? idk my fans are weird)

he's got big brown baby cow eyes. every. single. time. like that is this man's defining trait and you know what? i would not change that for the world lol

his position in hockey is a goalie! he uses the number #29 and plays for our college and later for the new jersey devils before being traded to the anaheim ducks. after he retires he becomes a firefighter!!!! (which is sooo hot btw)

[literaryvein-reblogs]

Any tips for writing allegorical characters?

As with any character, it is helpful to consider some general character development techniques that most writers follow. This would likely give depth to your characters and allow your readers to connect with them more.

Allegorical Characters - are meant to represent something larger than themselves in order to make a point.

The character in question may be a perfectly well-rounded and very much individualized character, but he is so closely linked to a certain concept, that he is often used allegorically as a way of talking about that concept (e.g. Superman and idealism).

Example: Godzilla himself started in Godzilla (1954) as an allegorical character representing the Atomic Bombings of Hiroshima and Nagasaki and the destruction caused.

If all of the characters in the work are written this way, then you might just have a full-blown Allegory on your hands.

Symbolic & Personification Allegory

There are essentially two different ways to tell an allegorical story.

One is by using symbolic allegory:

To write your allegorical character here, give them a recognizable identity or mundane utility within the story but also represents a larger concept.

Example: Dante uses this type in “The Divine Comedy.”

The characters of Beatrice and Virgil represent the concepts of divine revelation and human reason, respectively, but they also represent real people who actually lived.

The other type is personification allegory:

To write your allegorical character here, give them no identity apart from the concept they are supposed to represent.

Example: “Everyman,” which is a morality play from the 15th century, is an example of this type in which the characters are given names such as Beauty, Death, Knowledge, and Strength.

5 Tips for Using Allegory in Writing

Think of an important idea you want to share with your reader. It should be something large and complex, and something that relates to the society you live in on a large scale.

Once you’ve decided on a topic, plan out your allegory. Think of how you will translate these real-world ideas into fictional scenes and characters. Carefully assign characters: animals are common, as in Aesop’s Fables and Animal Farm, but there is no rule about what sort of characters to use.

Whatever you choose, remember that your audience will be trying to figure out who each character represents in real life, so try not to confuse them with unrelated characters whose purpose is not clear.

Be sure to let your reader know how to read between the lines. You will need to leave clues without over-explaining your message. Don’t be so subtle that the readers will miss the point of the allegory.

The surface story must stand on its own. While the underlying message can be a bit abstract, this isn’t an essay or a speech. The top layer must still make sense and be intriguing in its own right.

Sources: 1 2 3 ⚜ Writing Notes & References

If this inspires your writing in any way, do tag me, or send me a link. I would love to read your work!

[saintsenara]

Trick or treat!

thank you very much for hammering on my door, anon. i didn't love the costume, though, so you're getting the scariest thing i can think of...

in defence of won-won and lav-lav

the inspiration for which came from the following anon:

obviously, ron and lavender are not, in the eyes of the text, a ship we are supposed to root for.

the doylist text treats the relationship as a semi-punishment for ron - something intended to chastise him [notice, for example, how he and lavender are frequently described in the narrative as being laughed at by other students] for the crime of being so rude to hermione [and dismissive of her desire for him] in the opening half of the book.

and, specifically, to chastise him for being immature - and for being unable to express his feelings for hermione in any sort of sophisticated way. his relationship with lavender is the final stage of the arc which begins in goblet of fire when he fails to ask hermione to the yule ball - in which his approach towards his attraction to her is petulant and childish and he doesn't "deserve" to be with her until he's resolved it.

ron being poisoned - and calling out for hermione on his sickbed - begins a different narrative arc which continues throughout deathly hallows, in which ron is shown to be attentive, compassionate, chivalrous, and so on, until he proves himself worthy of hermione by remembering that slaves exist and gets his girl.

lavender serves - then - as the anti-hermione. she's the final boss of ron's flop era, stopping him from moving on to his true love. and he knows it - hence him getting the ick when lavender does such unreasonable things as "call snape a cunt" - and longs to extract himself from her clutches, but she's such a powerful force of teenage cringe that he can't.

until harry adds a little liquid luck to the mix, that is.

the watsonian text lacks the overt sense that ron and lavender's relationship is a punishment, but its view on the two of them as a couple is broadly aligned with the doylist narrative.

harry is aware that ron and hermione fancy each other, and he doesn't deviate from this opinion even after ron and lavender start going out - his view [which ron does nothing to disabuse him of] is that ron's attraction to lavender is purely physical, that they have nothing in common and don't really talk to each other, and that ron wants to break up with lavender but doesn't know how. he also makes no effort to include lavender in his friendship group [instead, he regards her as something which prevents him from enjoying hanging out with ron] or to get to know anything about her beyond "likes divination" and "parvati's friend".

ron and lavender's relationship also serves the secondary purpose - in both the doylist and watsonian texts - of laying the groundwork for harry and ginny getting together in the latter stages of half-blood prince.

[which some readers might otherwise feel had come out of nowhere... although i do actually disagree with that assessment.]

the emphatic presentation of ron and lavender as embarrassing, superficial, horny teenagers is a narrative device which enables both harry and the text to insist that his attraction to ginny is the complete opposite: not just a flash-in-the-pan teenage romance, but a mature, profound, passionate, sophisticated, end-game love story. the text has locked in on ginny as mrs potter the second she's rude about ron and lavender's kissing technique.

and so the fact that lavender brings something very important - and very positive - to ron's character development is often overlooked.

ron's defining character trait is that he's someone who feels a great need to prove himself. this contributes both to his positive and negative characteristics - it's why he's daring, loyal, and brave, but it's also why he's disinclined to take initiative, prone to sulking, and a bit of a show-off.

and it's also why he feels jealousy very profoundly.

ron's jealousy - like most people's - is rooted in a sense of insecurity. he's jealous of the attention harry gets because he's worried that nobody will ever think he's so impressive [which also connects to him being worried that he's the least-loved of his siblings]. he's jealous of hermione's relationship with viktor krum because he's worried that he could never command hermione's attention in such a way. he's so easy for the locket-horcrux to manipulate because he thinks it's self-evident that - as the apparition of hermione says - nobody would ever prefer him over the boy-who-lived.

this narrative arc concludes with ron learning to move beyond his insecurity - something the epilogue lampshades by having him quip that the crowds gawking at harry are really there for him. he stabs the locket, banishing the physical manifestation of his insecurities, becomes proactive about communicating his feelings for hermione, and acknowledges that his belief that harry's life is cool and swashbuckling is a fantasy, and that true heroism is often hard and boring.

harry and hermione are - unsurprisingly - key figures in this journey of self-discovery.

but so is lavender.

there seems to be a common view in this fandom that hermione is the most emotionally literate and most mature of the trio. this former view is plainly nonsensical [if any of them have the emotional range of a teaspoon, it's little miss "why are you upset your rabbit's dead?"...] and the latter always seems, to me, to be based in essentialist stereotypes about girls being more sensible and maturing faster than boys, instead of the idea that hermione - specifically - has a more diligent and rule-oriented personality than harry and ron.

[i'm always struck by how hermione is - in many ways - the most child-like of the trio. deathly hallows begins with harry clearing his trunk of the ephemera of childhood so he can pack for his mission. hermione's packing involves taking her schoolbooks along as comfort items...]

as a result, the fact that hermione and ron behave equally as petulantly towards each other before their end-game arc begins is often overlooked. he tends to cope with feeling insecure by lashing out at other people's insecurities [i.e. when he does the impression of her bouncing up and down in her chair and makes her cry because she laughs at him] and so does she [i.e. her zeroing in on ron's lack of confidence in his quidditch abilities when she says she's attracted to "really good quidditch players"]. he acquits himself badly when it comes to krum, she reacts in exactly the same way [scoffing, sulking, giving the silent treatment, casting aspersions on the object of his affection's character etc.] to his crush on fleur.

lavender - in contrast - just likes ron. there's nothing deeper going on. she just thinks he's hot and funny and she wants to be around him. harry may see her attraction to ron as ridiculous and embarrassing, but she doesn't. she wants to snog him in the middle of the dining hall - fuck what anyone else thinks!

and this experience - of being uncomplicatedly adored, of being thought wonderful without "wonderful for the average person, of course, not wonderful by the standards of harry potter/international quidditch superstar viktor krum/the slug club" being tacked on the end - is good for ron. it improves his self-esteem [harry takes the piss out of him looking pleased with himself when lavender laughs at his jokes etc., but part of why harry is so gagged is that these moments don't conform to the standard of harry being the person people notice first - or, indeed, exclusively] and allows him to begin to see himself as someone who's worthy of being desired as he is.

and this helps him move beyond expressing his jealousy through sulking and cruelty - at bill and fleur's wedding, for example, he is still jealous of the idea that krum is attracted to hermione, but he responds to this proactively by asking her to dance with him, instead of [as he does at the yule ball] doing nothing to express that he wants to spend time with her and then blaming her for not reading his mind - which then leads into his arc across deathly hallows of moving beyond jealousy entirely.

i don't - though - see ron and lavender lasting if the canon end-game pairings are deviated from. harry's observation that ron and lavender don't have anything in common beyond physical attraction is demonstrably correct. harry's view that lavender wouldn't mesh well with the trio [or with him and ginny as a couple] is harsher, but also true.

but nor do i think we should want them to last.

this is something i say a lot, but fandoms in general are really bad at thinking about romantic relationships which aren't epic love stories - which is unsurprising, since the media from which fandoms spring is exactly the same.

we're bad at recognising that one night stands which don't turn into anything, or second love, or friends-to-lovers-to-friends-again, or "this lasted six weeks and neither of us were sad when it ended", or "i'm sixteen and i want to kiss this fit boy, i'm not going to marry him!" still trigger character growth. a high-school relationship which makes everyone in a ten-foot radius cringe might not last - and nor should it! - but it can still be transformative.

lavender transforms ron's life. there is no romione without her.

[and nor is there any of the locket getting stabbed, so take note, ronmort nation.]

and she deserves our respect.

[halemerry]

hii first of all, i absolutely love your metas on GO s2! your breakdown of the last few minutes of ep6 was really insightful and i love you for your meta about aziraphale and his role as a protector - it is a very astute look into his character and motivations which not a lot of people acknowledge in their theories/speculation after s2.

more to the point of this ask: this is something i've been mulling over and is the only thing that still doesn't make sense to me in ep6. why is crowley so nonchalant, or at least not noticeably worried, about the metatron showing up to the bookshop (a space he is very protective of) and taking aziraphala away for a talk after aziraphale has already been threatened by micheal? throughout the whole season crowley has been extremely protective over aziraphale and is very much aware of the real danger he is in (re: the book of life). this is also right after crowley has returned from heaven and has learned what the metatron was willing to do to gabriel to ensure 'institutional integrity' and that much bigger plans were afoot. i find it hard to wrap my head around his calm demeanor when the metatron enters the scene and takes aziraphale away, even if it's supposedly for a harmless talk. i wonder if you have any thoughts/speculation about this?

(opps this got too long and rambling). i would love to hear your thought but ofc please don't feel pressured to answer :) love your posts about the season and i look forward to reading more from you. have a lovely day!

Hi!! Thank you so much! This ask has had me by the throat basically since you sent it. It sort of touches on some things I already wanted to write about so forgive me if this spirals a bit.

So in a lot of ways I think this is a question that can have a one word answer. But since I do wanna talk about the way the show gives us this answer I actually want to start with Nina. Specifically I want to start with the thing she tells Crowley as Aziraphale’s off with the Metatron.

“You’re the hard bitten one that can’t trust anyone ever again and Mr. Wherever He Is is the soft one that still believes in magic people being basically good and all that."

I’ve talked a little bit about this line before in my meta about the build up to the Confession here because I think it’s important to view from the perspective of how it preps Crowley for the following conversation he’s about to have. But, aside from that, I think it's really important because it's wrong. Nina is describing herself here, not Crowley. She’s projecting her own issues onto him and Aziraphale in the way that she perceives herself relating to them. Crowley himself is actually the one that calls out her trust issues for what they are explicitly. 

Nina doesn’t trust and she sees herself in Crowley far more than Aziraphale both in demeanor and aesthetic so she assumes he doesn’t trust either. But she has it backwards. Because Crowley isn’t hard bitten as much as someone who tries very hard to be perceived as such. And, most importantly in this specific context, Crowley actually trusts quite a bit.

And he nearly always has. Even as far as back as the Starmaker.

Just look at the way that the Starmaker and Aziraphale both talk about interacting with God. Aziraphale is nervous, anxious and pretty much immediately clocks that what the angel that would become Crowley is saying is going to get him into trouble. But the Starmaker? Even upset about the information he’s been given, he remains confident in the fact that it can’t hurt to ask a few questions. He trusts there to be no consequence for expressing an objection. He trusts that his opinion is valued. Even if he ends up wrong here there’s no inclination at all that he thinks his words will be taken inappropriately. And even the Fall itself doesn’t burn this out of him.

We see him trust Aziraphale, the cherub who was supposed to be guarding Eden from things like him, not to smite him on sight. And trusts him enough to not only have a conversation but express his own worries about his own actions. He then approaches Aziraphale like a friend at the Flood and makes no attempt to censor his horror at what is happening there.

Job is the first time we see Crowley act in a way that implies mistrust between them. This is the first time they’ve met since the Flood which I suspect is contributing to his reluctance to be honest with Aziraphale here. They fall into their roles and then very rapidly fall out of them. The fact Azriaphale reaches out to Crowley here is important. As is the moment where Crowley asks Aziraphale if he’s sure. After Aziraphale more or less agrees to be all in something changes. Crowley is surprisingly honest about his view on the world, mostly trusting Aziraphale not to use it against him. He places himself in front of a host of angels, trusting that Aziraphale would not expose him. And then later he’s even more honest, admitting to Aziraphale he’s lonely in an attempt to show solidarity.

The entire Arrangement could not exist without them trusting each other. Crowley’s pushing at Aziraphale’s boundaries is a constant exercise in trusting that Aziraphale will come around eventually - or that he at the very least isn’t about to weaponize the treacherous things Crowley is saying against him. As early as 1601 we see Aziraphale voicing active concern for Crowley's well being. We then see Crowley actively trust Aziraphale with both their safeties in 1941 - whether it’s trusting Azriaphale to save them from the bomb about to drop on them or trusting Aziraphale’s trust in him to not accidentally discorporate him during the bullet catch. They even explicitly talk about their mutual trust in this year during their shades of gray conversation.

During Armageddon Crowley shows up trusting that Aziraphale will help him fix this and once Aziraphale agrees never once seems to consider the idea that Aziraphale would hide anything from him (even when Aziraphale is actively doing so).

He also critically knows that Aziraphale tried to reach God and got himself discorporated as a consequence. And likely specifically knows that Aziraphale talked to the Metatron and came away from that conversation realizing that Heaven would not help him. It's worth noting whether Crowley knows this bit or not that in this conversation Aziraphale not only explicitly questions the Metatron's authority but also uses the conversation to extract information from the Metatron.

Aziraphale leaves this conversation with an active lie to the Metatron and attempts to call Crowley to tell him everything he knew. He then continually chooses Crowley over Heaven. They pick their own side and help stop the world from ending.

And then, all season, Aziraphale keeps proving that the trust Crowley has always had in him is well earned. Aziraphale, even more than Crowley himself, brings up ideas of 'us' and 'our side' and 'our car'.

Aziraphale openly talks negatively of Heaven. Not only does he agree with Crowley's disbelief that Heaven managed to stay in charge sending people like Muriel down, but he even goes a step further, implying that they perhaps never had control over earth in that way.

He also, most critically, immediately and without hesitation, tries to turn down the Metatron's offer to even have a conversation. Aziraphale, who has also just brought a group of archangels to order, reaffirms his lack of interest in Heaven right then and there in front of Crowley. Right when the Metatron has reaffirmed the threat of the Book of Life is out of play.

Crowley trusts Aziraphale. He always has. And more than ever lately Aziraphale has given him proof that he doesn't have to worry about where he allegiances lay.

But. It's also worth noting. I don't think Crowley is as chill as he maybe seems like he is. Yes, he's sprawled out and speaking casually here, but to some degree this is a bit of posturing. He's playing it cool and also not encroaching on the control Aziraphale has managed to wrangle on this situation. But he also doesn't just let them wander off either. As soon as they hit the door, Crowley is out of the chair and walking to the front of the shop to watch them leave through the window. He's keeping tabs as they walk away.

He then banishes Muriel and promptly starts to clean. Now I'm always a little wary to mix Book and Show canon, but I do think his cleaning of the bookshop (as well as him carrying around stacks of books while babysitting Jim) are manifestations of Book!Crowley's tendency to want to stress clean. He's keeping himself busy and gets done too quickly then promptly glances at his watch before throwing himself into the chair with a frustrated noise. He's anxious and stressed the entire time Aziraphale is out of his line of sight.

In other words, Crowley's not actually as calm as he's presenting himself to be. He's trying to take that nervous energy out in a way that doesn't conflict with giving Aziraphale agency. Because he trusts his angel. And that in part is why it hits him so hard when it all blows up in his face.

[island-ofthelost]

House MD hot takes

-Transmasc Chase > Transfemme Chase. Obviously everybody's headcanons are VALID AF but I feel like the only reasons people give is that "he likes to be pretty" when trans dudes can be pretty too :(. I can see both sides but transmasc chase just makes a lot more sense to me. I could write an essay.

-Wilson isn't autistic. He didn't "match House's autism UwU". Don't get me wrong there's definitely something going on up in that man's brain, but I'm thinking more on the mental health condition/personality disorder range than autism/adhd/etc.

-Foreman is sort of the least compelling member of the original team? I'm almost to the Taub/Thirteen/Kutner arc and so far I just haven't seem that much from him? I think House only hired him out of genuine respect as a doctor, which great obviously but not as interesting. He remains the same stoic, respectable doctor the whole time which is fine but not as interesting to watch as Cameron and Chase, with their "moral compass so strong it explodes" and "opportunistic traumatized yes man attitude" respectively. He's great as a guy, but just okay as a character. tbh I think the Euphoria episodes were made for the sole purpose of adding interest to the character.

-House was probably exactly the same before his injury, just not high all the time. I feel like that actually been emphasized in the show, but I always hear people talking about how he was probably much sweeter and a more lighthearted asshole beforehand and I think he just wasn't? People are allowed to have congenital jerkassery. I think he would still be a jerk even if he had a perfectly normal childhood.

-In a similar manner, I don't think House is as manipulative and cunning as people who view him as an edgy sigma tumblr sexyman like to think. I mean, obviously he is, but I think some of the stuff he says isn't with manipulative intent. I think he just genuinely lacks a social filter. He isn't Light Yagami for gods sakes.

-I doubt House and Wilson have ever fucked. SORRY. I'm a huge Hilson shipper but I just don't think it happened. pre series ending (yes I do know how it ends), even when they were living together, there was more important things for both of them, both in and out of their relationship. Also, at this point I'm guessing they both considered themselves heterosexual. It could have happened after the series ended I suppose because at that point I'm pretty sure they realized they were in love with each other, but Wilson was probably too busy dying of cancer.

-Start with Chase, end with Chase. I don't think Chase was very religious after he left the Catholic church. I mean he still sees himself that way which is valid and on the wiki and stuff, but I think most of his actions that point to that, like delivering last rites to a dead baby, are a byproduct of trauma if anything (trust me because religious trauma)

[bliss-in-the-void]

Gege Akutami, You Do Not Understand Gojo Satoru, and Here is Why

I was reading this article to help me cope with the traumatic events of Chapter 236 when a certain portion didn’t sit right with me.

Long post, click to read the full analysis:

(this is probably the most important post I've made so far)

Now, we all know that Gege doesn’t like Gojo. They don’t make it a secret in the slightest. Which is fine in itself, as an author you are 100% within your right to hate a character you created, and I respect that—it gives dimension to the dynamic of a story.

What I don’t care for is the reasons Akutami lists for their dislike of Gojo.

Reason #1 as stated in the above blurb of the article: Gojo doesn’t have depth.

To me, this is a wild statement to make as an author, but especially as the one who wrote Gojo. Where does he lack depth? Genuine question.

I believe he is an incredibly complex character.

He is the first sorcerer in centuries to be born with the Six Eyes and Limitless techniques, which automatically sets up so many nuances. Coupled with the fact that Akutami has stated that he grew up spoiled, that right there should tell you some things about why he is the way he is. He has a bit of an inflated ego when it comes to his powers. And why wouldn’t he? From the time he was born, the people around him treated him like some sort of God. How else was he supposed to grow up? He’s told his whole life he possesses unparalleled power, and he’s going to believe that.

Even still, it really isn’t as unchecked as Akutami seems to believe it is. Despite his distaste for authority, Gojo still reports to the higher ups, goes on missions, exorcizes curses, and works collaboratively with his fellow sorcerers. If he was really the giant egomaniac Akutami argues that he is, he’d say ‘to hell with authority’ and run off to do whatever he wants like Yuki. I mean, COME ON, this guy is the most powerful modern sorcerer and he still attended all four years of high school. He could have easily never attended—who was going to stop him?

He has a peculiar sense of humor that can get inappropriately timed in certain moments, but it’s obvious that it’s a deflection and a coping mechanism for the horrors of a sorcerer’s reality. He doesn’t just joke about death and dying because he doesn’t care. He cares too much and he doesn’t know how to deal with it, so he suppresses and laughs it off. Moments like this are seen after Suguru dies in JJK 0 when he was clearly crying afterward, but had to put on a cheerful facade for Yuuta and the other students.

He is a very good teacher. It’s hard for a naturally gifted prodigy to effectively teach things which come automatically to them, and somehow he finds creative ways to do it. Teaching Yuuji to control cursed energy by using one of Yaga’s dolls and giving him a movie marathon? One of Yuuji’s favorite hobbies? Genius and so considerate for Yuuji. He’d just been thrown into the sorcerer world, learning all these new things, and Gojo decided to introduce a foreign concept to him through something familiar and comfortable to him. That is amazing, and the mark of a very kind, understanding teacher. He’s also really patient with his students. Yes, he gives them tough love sometimes by throwing them into missions, but it really is to make them strong. How else will they grow if they aren’t put under pressure?

His motivation for being a teacher is very selfless. He himself has stated that he isn’t suited to be a teacher, but that he has a dream to raise a generation of strong allies to prevent isolation from occurring like what had happened to Suguru. He felt guilty about growing apart from him, didn’t see the warning signs before he snapped, and regrets not being there for him more. His entire purpose now is dedicated to making sure the new wave of sorcerers have a tightly-knit network so that no one ends up alone and on a dark path like Suguru.

He constantly sticks his neck out for the helpless even when it’s far from his benefit. He paid off the Zenin clan to save Megumi, the child of the man who ruined his high school years and nearly killed him. He then raised him. He threatened the higher ups to keep Yuuta alive, and then did it again for Yuuji. He does this to preserve their youth, because his own was taken away from him. His whole life he’d been controlled by the higher ups and people around him because of who he is in the sorcerer world, so by waving his own status in front of authority to hold them back from his students, he acts as a sort of shield to take as many burdens off of their shoulders as he can so that they can remain carefree. As much as he can within his power.

With all of that being said, I really don’t understand where Akutami is coming from with lack of depth, but another argument I say to that statement is: well, you’re the author, give him the depth you think he’s missing. (Personally, I believe he’s one of the best-written characters in any anime I’ve seen).

Reason #2 is that according to Akutami, he doesn’t have a likable personality.

What about his personality is unlikable?

He is cocky, but not to the point where he stops caring about others, not to the point where he never considers how other people feel or how his actions affect other people, and not to the point where he never feels guilt and remorse about his shortcomings. Like I said, he lives his life trying to prevent his past from repeating itself, to save the fates of others.

I really don’t get it. In JJK 0, after Nitta gives her report on the shopping mall, Gojo thanks her and praises her. Would a cocky asshole do that? No. If you wanted to characterize him as unlikable, you could have made him dismiss her, or ignore her.

He makes pop culture references, he has endearing flaws like not being good at drawing, being a lightweight drinker, and overdoing it on the sweets. He’s funny, he’s kind, he’s considerate…he is a very likable character.

Honestly, the self-absorption he displays when he’s fighting is probably a result of his upbringing. Being told you have so much power you have so much power you have so much power over and over again instills this belief that yes, he’s needed by Jujutsu Society to fight curses as a weapon. As. A. Weapon. The Six Eyes & Limitless user is a formidable weapon, but what about Satoru Gojo, the person? The only time he feels useful is when he’s fighting curses. That’s where he gets his self-worth. We can see that expressed in this panel, from Chapter 236:

In the second half of Gojo’s second text bubble, he says, “でもどこかで人としてというより生き物としての線引きがあったのかな”.

This translates to: “But I wonder if somewhere there was a line drawn between being a creature rather than a person.”

Rather than having drew the line himself, being constantly treated like the strongest, being handed over the difficult missions, being relied on so heavily pushed him away from other people. It distorted the perception everyone had of him, and it distorted the perception he had of himself. He also believed he could never lose because he let his human side fade into the background. The world didn't need human Satoru Gojo, they needed sorcerer Satoru Gojo, the one who could bend rules to his will with his might, the one who could exorcise any curse and save the day no matter how bad things got. Why would he remain human when that part of him was treated as non-existent? The only person who did treat him as a person with weaknesses and flaws has been dead for eleven years. Of course that voice of reason is going to fizzle out.

How can you possibly vilify him for that? It would be a disservice to everything he has had to endure his entire life.

Reason #3 and the last point I want to touch on is when the article says, "Akutami believes that much of this adoration is based solely on his striking appearance, overshadowing his more abrasive personality traits."

Okay. Where to start?

Honestly, and I know this is probably not Akutami's intention, but that comes off as so condescending. It's so presumptuous. It's as if to say we're all going "ooh look at pretty man, pretty man do no wrong because too pretty" mindlessly with dilated pupils and drool coming out of our mouths. Uh. No.

Yes, Satoru is a good-looking character, but no, that is very far from why we like him so much as a character, and it's also very far from why he's so popular. Aside from all of the points I've made above explaining why he's so universally loved, I'll make another one that isn't superficial and tired.

He's so relatable.

This is a man so incredibly traumatized by his high school years that he is mentally and emotionally unable to move on. Suguru Geto was his very best friend, and for reasons he took too long to understand, chose to abandon their friendship for his own goals. For anyone who has grown apart from a best friend, this hits so hard.

Because of his upbringing it was hard to become close to anyone. But somehow, Suguru was able to break past his walls, and for that, he became entirely too dependent on him. This is common for anyone who finds it hard to make friends and get close to others. Once someone is allowed in, you cling so hard to them and imagine them being there for your entire life. So, when they leave, you take it entirely too personally.

Everyone has a right to live their own lives, and as we see with the divergence of Suguru and Satoru, sometimes our paths aren't leading to the same place. It's not personal. But Satoru took it personal, and that's so beautifully human. When you lose a best friend who was important to you, you think "I like being around this person, they put me at ease in a way no one else does", and you assume they feel the same way about you. So when they leave and show you that no, they didn't feel the same, it hurts. It's almost as if they're saying "I actually do think you're unlovable like everyone else, that's why no one likes you, you are too much."

Someone you thought was safe, isn't anymore.

That is such a relatable thing to watch a character go through! Especially someone as awe-inspiring and charismatic as Gojo! As an audience, we think, "he's just like me!" and we like him for it.

So, as I stated in the title, Gege Akutami, you don't understand Satoru Gojo at all. I commend you for writing such an amazing, iconic, universally loved character, but I will never understand nor respect the superficial way in which you perceive him.

[acourtofthought]

Lucien as a Mate

"Where is he keeping her"

"Tell me anyway. List all of them."

"I need to find her"

His own status as a mated male made him uninterested in any sort of female company these days.

"I'm a mated male now"

"I'm going with you." "I'm getting my mate back"

"Tell me about her - about Elain."

"What of - Elain?"

From the devastation on his face, I knew he'd heard every word. Seen and heard and felt the hollowness and despair radiating from her.

"Is...is there anything I can get you?"

I'd never heard my friend's voice so soft. So tentative and concerned.

"There's a plate of biscuits. Would you like one?:

But he couldn't breathe as she faced him fully. She was the most beautiful female he'd ever seen."

Her eyes were the brown of a fawn's coat.

"I know. I'm sorry."

"She needs fresh air"

"Take her to the sea. Take her to some garden. But get her out of this house for an hour or two."

"It wasn't just about what he thought - it was the...feeling. I sensed no ill will, no conniving. Only concern for her. And...sorrow. Longing."

"Let me do something. About Elain."

"I think she went through something terrible. And it wouldn't hurt to have your best healer do a thorough examination."

"Please tell me, what the healer says. And if - if you need me for anything."

"I'm sorry." "It - it was a tug. On the bond."

"I'm sorry - if that unsettled you."

"There's a bond - it's a real thread."

"No - I didn't have time. I felt her, but..." A blush stained his cheeks.

Lucien just stared and stared at my sister, as if he'd never seen her before.

He glanced at Elain, who was again studying her lap. "I'm not needed here. I'll fight if you need me to, but..."

Lucien looked back. Not to me, I realized - to someone behind me. Pale and thin, Elain stood atop the stairs. Their gazes locked and held.

Lucien inclined his head in a bow, the movement hiding the gleam in his eye - the longing and sadness."

Lucien, haggard and bloody, panting for breath. As if he'd run from the shore. His gaze settled on Elain, and he sagged a little. "Are you hurt?"

"I heard - what happened. I'm sorry for your loss. All of you."

""I heard you made the killing blow."

"He was a good man, "he loved you all very much."

"It would be my pleasure."

Lucien now stood in the sitting room, close to Elain's side.

"How is she?"

"But is she still..." "Does she still mourn him?

"The pain etching deep into Lucien's face as he tried to hide his disappointment and longing."

You know what I love about Lucien's character?

We know he's experienced. We know he's an Autumn Court male with fire in his blood which is supposed to make them exceptional in the bedroom. And we know he's drawn to Elain on a very physical level.

But instead of SJM taking him the same route as say, Cassian with Nesta ("He tried not to think of what that hand would feel like on other parts of him. Gripping him: stroking him"), SJM turns Lucien's POV of Elain into something utterly romantic (her eyes were the brown of the fawn's coat, she was the most beautiful female he'd ever seen, trying to keep from shuddering when she merely says his name, showing restraint as he reels in any thoughts of touching her or tasting her). He's struggling with guilt over Jesminda yet he still can't help his poetic thoughts of Elain.

I think the physicality of Nessian's POV worked for them (though it's important to remember that Cassian also noted on multiple occasions that it was Nesta's cunning mind at work that really drew him in, not just the physical)

But Elucien to me will read as deeply passionate, where Lucien will refuse to admit his darkest desires, the things he wants to do to Elain and she to him until he's won her heart.

[sweetestpopcorn]

Hello!! I know that aside from Daemon/Rhaenyra, you are a fan of Baelon/Alyssa. I just wanted to ask, what is your opinion on Viserra, or on the whole Viserra seducing Baelon after Alyssa’s death? Do you think Baelon might have been able to save Viserra from her fate if he had agreed to marry her (even if he didn’t love her)? What is your opinion on this pair?

Hi there :)

Yes, after Daemyra Baelon and Alyssa are definitely my favourite Targaryen couple.

About the rest of your ask, I don't think Viserra fans will like my answer, but I don't quite care for Viserra. I have talked about it in the past that I see Saera and Viserra as very shallow characters with almost nothing to them. They were written as mean girls and that's about it, besides being Targaryens and physically very attractive, I don't actually see any redeeming qualities in them.

Saera at least you could argue was sort of funny, in a heartless, sociopathic Cersei kind of way, and I did admire how she later on in life wanted nothing to do with Westeros or the Iron Throne saying she had her own kingdom was a cool moment. But regardless she was cruel, unnecessarily so (e.g., Tom the Turnip anyone?), and worse with someone much weaker than her which also makes her a sort of coward. Like I said she had many sociopathic traits, and her behaviour itself is very congruent with a sociopathic personality type.

Viserra is a bit better in that regard in the sense that she was not needlessly cruel to anyone weaker than her for fun, even if she poked fun at young men who lusted after her, sometimes in quite dangerous ways (e.g., when she dares them to put their heads inside a dragon's mouth, I think the prize was her V card if memory serves right). But like Saera is mean and cold for the sake of being mean and cold, Viserra is ambitious and cold for the sake of being ambitious and cold.

We are both shown and told she wanted power and to be queen and F feelings and all that, but we are never really given a proper reason as to why. I would guess that being child #10 in a very large family would make you starved for attention, likely importance as well, since her only selling point in that family was being the most beautiful of the sisters. It was (VERY) unlikely she would ever be queen, so maybe because of that it became an ambition of hers? There was also something arrogant about her because of her looks, thinking that that would be enough to just give her what she wanted without having to rely on anything else. In that sense she has no depth, what you see is pretty much what you get and neither is very good or particularly compelling.

So, no, I wouldn't want her to marry Baelon, nor for Baelon to be interested in her. In fact, I loved that he wasn't and that after she spoke in such a nasty way about the sister she thought herself so physically superior too that Baelon gave Viserra a cold hard dose of reality of he's Baelon Targaryen, not a failed Baelon like Tywin Lannister.

Sure that some people find love again in life, and I am all for it. But some people aren't like that, and I found a lot of beauty in that aspect of Baelon's character, of how devoted he remained to the memory of his lady with the mismatched eyes. I would have hated for that to be ruined, especially in the name of such an ambitious and empty character like Viserra. If he was to marry her, whatever the reason, he would not be Baelon because that was a central aspect to his character.

All this aside I did feel bad about how Viserra was treated by Alysanne, almost like she was the final boss Alysanne had to defeat. I think this is a great example at times of George's incongruence with how he writers characters in F&B. Pretty much their end is decided so he just does whatever he has to to get there, at times with little regard with what he previously established. Are we supposed to believe that the same Alysanne who still loved and wanted to forgive Saera, even defended her, would be so cold and mean to Viserra? Sorry, I don't find it the least bit believable. Like show us on the doll where Viserra touched you Alysanne. Regardless of her not deserving this or her cruel fate, I still don't really care about Viserra nor think she had any redeeming qualities.

And that is my take.

Thank you for coming to my Tumblr Ted Talk!

Much love to you <3

[miraculouslbcnreactions]

@grimharuspex in the comments of that @zoe-oneesama post said it the best; Butterfly should’ve been Emotion and Peacock should’ve been Desire. I know that Zoe has a limit on what canon she changes for her comic which I respect/appreciate given the thought she puts into it (even when canon’s various nonsensical magic rules are especially grating like this) but how do you think things would’ve gone in-show if this was the setup from the get-go? On that note, do you think it’s a good setup for canon in the first place? Why or why not?

This is going to be a rather long lecture on lore and world building and how the peacock fails on every level, so before we get into that, let's start with the positives. I saw a few people pointed out the Desire idea - that being that the peacock's associated Force should have been Desire while the butterfly got Emotions - and I think that they're absolutely right. That one tiny change does fix the surface level issues and make the peacock make sense for its larger role in the narrative.

It would complicate the whole magical slave thing and also mean that you probably have to rework a few of the minor sentimonsters, but generally speaking, it makes way more sense for Desire to birth a fully realized human being. The sentipeople being people while also coming from a single emotion will always be total BS in my eyes.

At the same time, I blame no one for just sticking to canon's lore. Reworking the lore is a serious thing and even I only do it when I'm telling a lore-heavy story. There are plenty of stories where I just stick to canon's nonsense because the lore isn't important.

Now that we've done our positives, let's getting into the negatives! The issue of the day is this: changing the Force from Emotions to Desire doesn't solve the larger problems with the peacock. Problems that we'll now get into. Buckle up, this is gonna be a long one.

Issue 1: Power Diversity

While I would not call myself a superhero expert, I have seen a good deal of superhero and magical girl team shows in my time. Most of you probably have. If you think about the power sets that we see in those shows, then you'll notice that one thing is pretty much always true: every power is unique OR the powers are all closely related in some way. You never do both because the two concepts don't mix. It makes no sense for half of the characters to have totally unique powers while the other half have copies unless there's some sort of special thematic reason for this like siblings sharing a power.

Without that sort of explanation, it just feels weird and it also makes the characters feel redundant. You don't need two speedsters or two supermen! One is enough. Heck, Avatar the Last Airbender takes place in a world where whole civilizations have the same power and they STILL didn't duplicate powers for the core team because they understood that it's important to keep the characters unique.

Miraculous is pretty obviously supposed to be the type of show where the powers don't overlap. Every character gets a unique power that's uniquely suited to them. We even have this confirmed in universe during that confusing scene in the episode Destruction where Orikko - the rooster - tries to explain how his powers work:

Orikko: No, you're mistaken! Time travel is Fluff's power and I can't grant the power that already belongs to another Kwami!

This brings us to the problem with the peacock: it is not a unique power. It's derivative on multiple levels.

Derivation Level One: Akumas

The first and most obvious level is how similar sentimonsters are to akumas. In terms of how they're normally used in the narrative, they're pretty much the exact same power to the point that you literally can't tell which one you're dealing with until someone tells you. The narrative uses them interchangeably with some episodes using an akuma, some using a sentimonster, and some using both.

In fact, I thought that it was really weird that Gabriel didn't switch to maining sentimonsters back in season four. You had akumas breaking their bonds left and right, which is a thing that sentimonsters literally cannot do, making them the obvious fix to this new problem.

To really highlight the whole "indistinguishable power" issue, allow me to highlight some dialogue from Kuro Neko to show that this is very much an in-universe problem:

Cat Walker: You think that's Cat Noir? Ladybug: Of course it's Cat Noir! He must've been akumatized because he regrets having given up his Miraculous!

Ladybug: You'll see once we deakumatize him. (She runs towards Kuro Neko.) Cataclysm his bell, I'm sure that's where the akuma is! Cat Walker: Hang on! (follows her) Ladybug, what if that's a sentimonster? If I use my power on him, he'll lose control and become more dangerous!

Cat Walker: (cringes) What I mean is you're right to doubt, and I agree with you. Until we know for sure whether we're dealing with a sentimonster or someone who's been akumatized, we shouldn't make any brash decisions. (Kuro Neko leaps away.) Let's find out more.

This sort of confusion should be impossible unless it's the result of clever planning by the villain, but that's not what we're dealing with here. Kuro Neko was not about Gabriel tricking the heroes. He sent out a normal sentimonster having no idea that Chat Noir had just quit. And yet Ladybug had no idea that this was a sentimonster. She looked at it and saw an akuma.

Cat Walker also didn't know that it was a sentimonster. He just knew that it wasn't Chat Noir, which was probably the only reason that he thought to question Ladybug and warn her to be cautious. They only realize that it's a sentimonster once they learn that there's a child inside it.

This is canon accidentally telling us that akumas and sentimonster are just straight up indistinguishable unless you see then made or do some experiments to figure out what you're dealing with. That's not a good look if your claiming that each miraculous grants a unique power. It is, however, a great lead in to the second power that the peacock copies: the power of illusions.

Derivation Level Two: Illusions

I said above that it should take careful planning for a sentimonster to be confused with an akuma. While we never see that type of carefully planned setup, we do see sentimonsters used to successfully impersonate humans on several occasions. One example is the episode Optigami which gave us SentiNino and SentiAlec. Seemingly perfect clones of Nino and Alec who did whatever Shadow Moth told them to. We even see a scene where Shadow Moth is telling SentiAlec exactly what to say.

You know who else gives us this type of scene? Rena Furtive in Rocketear:

Ladybug: You said that if Nino could have heard what you were saying, there'd be no misunderstanding? Rena Furtive: Absolutely! Ladybug: How well do you remember what you guys said on the balcony? Rena Furtive: Every. Word. Ladybug: Do you think you could make... a sound illusion? Rena Furtive: Totally.

Is there any doubt in your mind that the peacock can do anything that the fox can do? What's even worse is that the peacock does illusions better than the fox! Fox illusion vanish in a puff of smoke if you touch them. SentiNino was real enough to wield a miraculous because he was a fully corporeal illusion that would have kept on going if he hadn't been snapped away. This brings us to derivation level three: the power of creation.

Derivation Level Three: Creation

The peacock doesn't just outshine the fox, it outshines the ladybug! Lucky charms vanish as soon as Ladybug detransforms. Sentimonsters last forever. The ladybug is only useful in battle as it requires a super villain to cast its cure (which is asinine, but let's not get into that here). The peacock can be used at any time. The ladybug doesn't give you what you want, it just gives you a puzzle to solve. The peacock can fulfill your deepest desires and even create life.

Outside of the extremely specific circumstances that the show gives us - aka an ongoing battle with a super villain - the ladybug is kind of useless. If you want the power of Creation, you're going to use the peacock. This brings us to our second main issue: power balancing.

Issue Two: Power Balancing

The ladybug and the black cat are supposed to be the two most powerful miraculous in existence, but it really doesn't feel like that's true. Sure, if you put them together they rewrite the universe, but that's not part of their individual base power sets. At an individual level, they don't actually feel all that powerful when compared to the butterfly and the peacock. It's more like Marinette and Adrien are smart enough to make their very limited powers work while Gabriel and Nathalie are dancing along easy street and making fools of themselves with every step.

I've mentioned before that I can forgive the butterfly's overpowered nature because this is an episodic show. They want each episode's fight to be unique and interesting and so we have to give them room to have one power set that should be an insta-win card, but isn't because plot.

I can give them that grace once. I cannot give it to them twice.

There is no reason why both the butterfly and the peacock need to feel more powerful than the supposed most powerful miraculous in existence. I've even talked to one person who is rewriting canon with the assumption that the peacock and the butterfly ARE the most powerful ones because they are! Nothing proves this better than the fact that they've both made creations that can copy the powers of the ladybug and the black cat (see: Copycat, Strikeback, Ladybug, Sandboy, Miraculer, and probably a few others that I'm forgetting).

They're also the only miraculous that don't require an active user. You can create a sentimonster or an akuma, then detransform and have a snack while your creation does whatever you need it to do. That's so incredibly broken and such a terrible move in terms of power balancing. Either have all of the powers require active users or, at the very least, have more of a mix of active and passive powers. Why do Mirage, Shelter, and Lucky Charm vanish when their caster's detransform while akumas and amoks stick around? There is no in-universe logic to explain this. It works this way because that's what the writers needed these miraculous to do. A fact that makes it impossible to get invested in the lore of this show.

When designing a complex magic system, you generally don't want "because plot" to be the only answer to why things work they way they do. You want your magic system to feel real and organic to the world. That's how fictional worlds come to life! If Miraculous' magic system was well designed, then you could take it and use it to tell a wildly different story set in the same universe, but you can't. Everything about it is designed around making canon's story work and not around making an immersive world that you can almost believe exists.

There are stories that I wouldn't hold to that standard, but they're mostly short form stories. Anything as big and complex as Miraculous needs to have a solid lore system backing it or else you lose all sense of stakes. A great example of this is the Bunnyx problem where you know that she can show up at any time and reset the timeline even if things are happening in her own past, so why do we need to worry about bad things happening? And how are the ladybug and the black cat the most powerful ones when you have nonsense like time travel and the power to create human-like creatures? Early canon lore was decently solid, but the longer the show goes, the more nonsense the lore gets and that makes me sad because I love good lore.

Some Final Thoughts

You may have noticed that I didn't really talk about the sentikid issue in this post. That's because my dislike of the peacock came long before that fun little twist. While sentiAdrien is yet another great reason to dislike the peacock, it didn't need to be a thing for the peacock to be a terrible idea. Take away the sentikids and you still have an incredibly derivative and lore-breaking power set that never should have made it into the show.

I actually completely redesigned the peacock for my own rewrite which I start plotting back when I was first watching season three, long before sentiAdrein was even on my radar. That's not something that I usually do in my fix it stuff. I usually try to stick close to canon and make more minor tweaks, but the peacock is so fundamentally world breaking that I had no choice but to do a total overhaul. This is already an incredibly long post, so I won't go into that here. I'll save it for another ask that's sitting in my inbox. I'll schedule them to post back to back.

For this post, I'll just end by pointing out that switching the peacock to Desire makes it derivative of and arguably better than the pig, too, since the pig can only tease you with what you want. The peacock actually gives it to you. In fact, I'd say that the peacock may be a better pig even without the switch!

You can also argue that the peacock is better than or at least equal to the rooster and the goat because they're also just variations of the butterfly and the ladybug's power. Like there is legitimatly potential in taking those miraculous and doing an AU where each Kwami's power is an aspect of creation because the powers are so awkwardly intertwined. Probably make the peacock the master and all others spawn from that one or something like that.

Anyway, this is why you can't design powers around characters if you want good lore and a large team! You have to start with the powers and go from there! It's why I edit Nino's character to be more of a protector since that's his supposed True Force! Also because I want him to be more narratively important but that is a rant for another day.

[sixpossumsinatrenchcoat]

la mort en rose

A study on Ryoji, Minato, and the people they love. P3(R) spoilers abound.

“You guys are a weird combo,” Junpei says. “You know that, right?” “What!!” Ryoji gasps. “No way! Minato and I are made for each other! We’re like rice and curry! Peanut butter and jelly! We even finish each other’s…” “Homework,” Minato mumbles, swapping the papers in front of them.

Minato is… quiet.

Not the kind of quiet that makes you a good listener—the kind that makes you seem like you’re not all there. Like even when he’s standing right next to you, he’s really somewhere else, listening to something else. Buried so deep inside himself that not even sound can reach him. Somewhere that light has never touched.

It should make him bad company, but it doesn’t. Minato is exceptional company. Transfixing, even. And it’s not just Ryoji who thinks so. He’s seen Minato’s phone. It’s an endless stream of inbound texts, a hundred colorful characters vying for his attention. Most of which are left unread.

Which should be rude! Shouldn’t it? But when Minato doesn’t text back, it doesn’t feel like an insult. You just sort of assume he had something more important to do.

Maybe it helps that Ryoji is so different. ‘Opposites attract,’ and all that. Minato’s silence gestures at hidden depths, abyssal-dark and ocean-deep. And Ryoji is all surface.

“Something about him just feels so… free,” Ryoji says dreamily. “Do you know what I mean? Like nothing he says is ever forced. Like he’s achieved, oh, I don’t know, nirvana, or something; only he doesn’t have to tell anyone, because he doesn’t have anything to prove.”

“Uh huh,” Yukari says, stifling a yawn.

She’s sitting across the table from him, twirling her straw in her iced latte and trying to look like she’s not bored out of her mind. In her defense, Ryoji is kind of a broken record. It’s all, ‘blah blah blah, Minato, blah blah blah, mirrored souls, compliments and complements and narrative foils and Minato Minato Minato.’ Like, seriously, get a hobby.

When she looks up, Ryoji’s eyes are shining, his hands clasped earnestly. “Don’t you think so, Takeba-san?”

“For sure. Totally.”

She only agreed to go on this stupid date to annoy Minato into actually doing something, instead of just staring holes in the back of Ryoji’s head and brooding at him. But she hadn’t expected to spend the entire date talking about her housemate. Wasn’t Ryoji supposed to be popular with girls?

“…so mysterious!” Ryoji is gushing now. “You get the sense that he’s always thinking about something important, something real.”

“Mhmm.” A few tables over, there’s a girl wearing the cutest little cropped halter, hemmed with lace and embroidered with tiny purple roses. If Ryoji were just a little less attentive—if he’d go to the bathroom, at least—Yukari could probably sneak away for long enough to ask where she bought it. But he hasn’t.

The shirt isn’t really in her palette. That girl has the hair for it, long and dark and silky-straight, but Yukari is a summer; jewel tones wash her out. Maybe it comes in pink?

“…do you do, anyway?”

Yukari looks up to find Ryoji smiling at her, clearly waiting for an answer. Oops. She was totally not listening. “Sorry, what?”

“In your club! The Specialized Extracurriculur…” He frowns thoughtfully. “You know, I’m not sure I’ve ever heard the full name! Just the acronym. You have to admit, it’s a little mysterious.”

Oh. Oh. Unfortunately, Mitsuru explained their cover story back when Yukari was busy hating her. And now it’s way too late to ask. “Oh, um… our senpais would be better at explaining…”

“I don’t think Kirijo-san likes me very much,” Ryoji says morosely.

“What,” Yukari snickers. “Did you make a pass at her or something?”

“I only said that, with that hair and those boots, she’d—”

“No, stop, I literally don’t want to know. You didn’t hit on Sanada-senpai too, did you?”

“Well…”

(Hah!!) “You didn’t.”

“If it’s any comfort, I don’t think he noticed.”

She can’t help snorting a laugh. “Ryoji-kun! You are relentless!”

“People like it!” he protests, but he’s grinning, too. “It makes them laugh!!”

“Some people. If you try that stuff on the wrong person, you’re gonna get your butt kicked, you know.”

“Well…”

“Oh my god. Please tell me this story.”

To her relief, Ryoji seems to forget about SEES after his second story makes her laugh so hard that coffee shoots out her nose. And good riddance. Girl talk is way more fun than prying into her supernatural extracurriculars.

You can read the rest of chapter one here: ao3.org/works/58634896/chapters/149399371

[thydungeongal]

Would you say Pathfinder is a game designed for dungeon crawls, heroic fantasy, or a secret third thing?

It's a secret third thing, and that secret third thing happens to be a thing that D&D 3e, 4e, and 5e, and most modern non-D&D fantasy adventure games actually are too: a dungeon combat game.

Basically, there's a huge gap between TSR D&D and WotC D&D in terms of what sort of behavior the rules actually encourage. This trend already began in the adventure design of AD&D 2e, but it's good to recognize that the game itself was for the most part identical to the other TSR versions of D&D in structure, so while the adventures shied away from dungeon crawls, the game that powered those adventures was still a dungeon crawler.

Ultimately, the dungeon combat game is all downstream from a few design decisions made in D&D 3e: first of all, making combat less abstract, more zoomed in, and more explicitly blow-by-blow than in the TSR editions. AD&D had one-minute combat rounds and the combat procedure was notably very zoomed out and abstract, and characters arguably didn't even have individual "turns" but simply acted in the appropriate part of one big combat round depending on the action they were performing, their party's initiative roll, etc. D&D 3e made the combat procedure much more minutely detailed, blow-by-blow, and concerned with very precise positioning and action economy.

The second design decision that contributed to the codification of D&D as a dungeon combat game was challenge ratings and encounter levels: basically tools by which GMs were encouraged to create a balanced diet of encounters to make a nutritious adventure day.

The thing that separates a dungeon combat game from heroic fantasy is that a dungeon combat game is ultimately an action game running on a dungeon crawl engine: it's still a type of gameplay heavily concerned with attrition. Now, attrition is actually something that can actually be contrary to a heroic fantasy story: in a heroic fantasy story heroes are supposed to snatch victory from the jaws of defeat, which is something that can happen within the framework of a game based on attrition, but most of the time a combination of attrition plus the fact that the game itself doesn't care for dramatic resolution means that those moments are less likely to happen without some serious narrative editing.

So a dungeon combat game is basically kind of like an attrition-based dungeon crawl, but because the game cares the most about combat and "challenges" most of that attrition happens within the context of combat encounters planned for the party.

And yeah, I'm lumping in all WotC editions of D&D and both editions of Pathfinder, because in spite of what some people may tell you, the games are actually remarkably similar in terms of what sort of adventure design they encourage and what gameplay looks like. And there's actually nothing wrong with the playstyle imo, even though I'm not its biggest fan. But I think it's also important to distinguish between a dungeon crawl in the old-school, TSR D&D sense, and the ahistorical "dungeon crawls are just a series of combat encounters in an enclosed space" sense (a lot of people think a dungeon crawl means the latter when in fact it isn't entirely accurate).